Resumo - Tratado de Dall_Agocchie

Copyright notice

What I’ve done is reorganizing the translation by William Jherek Swanger, as can be found on his webpagehttp://celyn.drizzlehosting.com/jherek/archive.html. Following his copyright requirement, thisdocument is purely for educational use and also contain the first page of his translation. Please don’t useit for any commercial purpose. You can distribute or edit it as you want, but please keep my name andmore importantly, the translator’s name.

About this document

Giovanni dall’Agocchie’s “Dell’Arte di Scrima Libri Tre,” even though quite readable, in today’s standard,it can be made even better so that the readers can extract the necessary information more easily. Thisis the reason why I decided to reorganize his book.

I tried to keep as many original translated texts as possible while making it concise, such that theinformation is mostly not “polluted” by my understanding. Also, I only keep parts that are more relevantto fencing.

How to use it

1. When a bulleted lists appear, it means that here the master gives us some options to choose.2. A numbered list, like 1., 2. is a sequence of moves. If there’s an alternative sequence, the punctuation

after the number is “)” instead of “.”.3. This numbered list is specifically useful when discussing countering a sequence of moves, for which the

counter and the countered have the same numbering, so it becomes easier to know which counter isfor which act.

4. My own or the translator’s comments are within squared brackets, “[ ].”5. Please make good use of bookmarks that are already contained.6. In Chapter. 7, considering the defenses and counters are not that complicated, instead of giving two

separate columns for them, I put them together .7. It’s highly recommended that you read and compare Mr. Swanger’s translation as well, whereby you

can know better what it was like and if I made any mistake, which is highly possible, you won’t bemisled by me.

Frank Gao, Sep. 2015.

http://celyn.drizzlehosting.com/jherek/archive.html

The following is a translation of Books I and II (of three) of Dell’Arte di Scrimia by

Giovanni dall’Agocchie (1572).

All annotation is in boldface and bracketed as follows:

1) Page numbers of the original are given in square brackets, e.g. [36recto] indicates the

approximate beginning of page 36 recto.

2) Marginalia are presented in wavy brackets, e.g. {Why fencing is the foundation of the

military art.}, likewise in approximately their original placements (albeit in the body of

the translation as opposed to in the margins).

3) My own comments are in angular brackets, e.g. <i.e. your sword’s—“di essa”>.

These are provided chiefly in order to clarify or specify something that was not made

explicit in its particular instance or context but was nonetheless unambiguous owing to

original grammatical inflection, earlier reference, or other context; or to indicate an error

or inconsistency in the layout or didactic structure of the original (e.g. when a

provocation is described, then its counter is given while misstating the nature of the

original provocation). I have tried to be conservative with respect to this latter class of

annotation.

I would like to thank my friend the esteemed Gordon Frye for his explanation of various

technical elements of the joust and its equipment. Any errors on this topic are doubtlessly

due to misconstrual on my part.

Finally I direct the reader’s attention to the copyright statement below. I would like to

clarify that research and study constitute fair use, and I invite anyone to reproduce and

use the current text, provided that a) this page remains attached to it, and b) that it not be

reproduced in part or whole, by itself or as part of a larger work, for sale or otherwise for

financial gain without my prior written consent.

COPYRIGHT STATEMENT

All rights reserved. Copyright Nov. 24, 2007 by William Jherek Swanger. No part

of this work may be reproduced or transmitted by any means or in any form,

electronic or mechanical, without prior written consent of the author/translator,

subject to Fair Use in the Copyright Act of the United States of America.

Chapter 1

Basics

1.1 Six headings of fencing

1. Knowing which edge is the true one and which is the false when you have to employ the sword.2. How many ways it can wound.3. The nature of the guards, and especially of the most important ones.4. The way to step in them.5. When you’re in any of the said guards whatsoever, how you can defend yourself from all of your

enemy’s blows, and harm him.6. Having an understanding of the straits of the half sword, and of time along with it.

1.2 First heading: true and false edges

As for the true edge, every time you grip your sword, whether in your right or left hand, the edge thatfaces toward the middle knuckle of your hand will be the true edge, and conversely, the other one will bethe false one.

1.3 Second heading: blows

All blows must be either mandritti, riversi, or thrusts. But each of them has natures additional to these,according to the varieties of how they are delivered. Because the mandritto will be either fendente,sgualimbro, tondo, ridoppio, or tramazzone; and the riverso will likewise be of the same qualities asabove. The thrust, then, is divided into three types, namely imbroccata, stoccata, and punta riversa.

1.3.1 Mandritto, riverso

Mandritto originates on the right side.

Roverso is opposite of the dritti, beginning on the left side and ending on the right.

1.3.2 Fendente, sgualimbro, tondo, ridoppio, or tramazzone

Fendente cleaves from the head to the feet in a straight line.

Squalimbro goes through diagonally, that is, (for mandritto squalimbro) from the adversary’s left shoul-der to his right knee.

Tondo, or traverso, is the name of the one that turns crosswise.

Ridoppio departs from beneath with the true edge of the sword and finishes at the point of the enemy’sright shoulder (for mandritto ridoppio).

Tramazzone is done with the wrist in the manner of a little wheel.

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Chapter 1. Basics

1.3.3 Thrust

Imbroccata is done overhand.

Stoccata is done underhand.

Punta riversa issues from the left side.

Punta in falso (false thrust): You extend the point of your sword with your arm well extended outsidehis left side, making its false edge go toward his face, turning your body behind your right side in thattempo.

1.3.4 Harming with the false edge

One can harm with the false edge, but it’s rarely done, because the false edge is used more for parryingthan for wounding. It is indeed true that this can also be divided into multiple types, however two arethe most necessary, namely the falso dritto and the falso manco.

Falso dritto will proceed from your right side, going from low to high along the line of the mandritto.

Ridoppio falso manco will proceed from your left side, going from low to high along the line of theriverso ridoppio.You can similarly perform a false mandritto (mandritto in falso), and a riverso as well, which are donewhile the blow is being thrown, because almost in striking him, in particular with the mandritto, thepalm of the hand is turned downward, whereby one wounds with the false edge. And on the contrary, inthrowing the riverso, the palm of the hand is turned upward, and they take these names for this reason.

1.3.5 Mezzo mandritto

The mandritto sgualimbro begins at the enemy’s left shoulder and finishes at his right knee, and becauseof this it was named a finished blow. The mezzo mandritto is of the same nature, nonetheless, owingto it not being a finished blow, and also because of it taking less time, it’s come to be called a mezzomandritto, which you’ll perform most of the time when you find yourself near your enemy, for greatersafety.

1.4 Third heading: guards

There are eight most important guards, four low and four high. The four low guards are coda lungastretta, coda lunga alta, porta di ferro stretta and cinghiale porta di ferro stretta, whilethe four high guards are guardia d’alicorno, guardia di testa, guardia di faccia and guardiad’entrare.

1.4.1 Low guards

1.4.1.1 Coda lunga

Coda lunga will be when the sword is held outside of your right side, and it is divided into two differentguards, one of which is called coda lunga stretta, and the other alta.

Coda lunga stretta is done with the right foot forward, holding the sword outside of the right sidewith the arm will extended and near the knee on the outside, and with the point aimed at the enemy.Coda lunga alta is with the left foot forward, holding the sword outside of the right side with the armwill extended and near the knee on the outside, and with the point aimed at the enemy.Coda lunga larga is when, being in coda lunga stretta, you draw your hand and sword back somewhat,holding the point low, will be called coda lunga larga, and is named such because the sword is distancedfurther from the enemy.Coda lunga distesa: Being in coda lunga larga, turning the point of the sword to the rear, and it alsotook this name from coda lunga because the sword is extended backwards.Three guards can be formed with the left foot forward, namely coda lunga alta, coda lunga larga, andcoda lunga distesa.

Coda lunga is named so on account of its similarity to great men, who are perpetually accompaniedby many people, and hence one hears the common proverb, beware of those who have the long tail, thatis, that have a following. And likewise one needs to beware of this guard, because it has the long tail.

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Chapter 1. Basics

1.4.1.2 Porta di ferro and cinghiale porta di ferro

It is called porta di ferro, owing to its similarity to an iron gate, which takes a lot of effort and skill tobatter down. Just so, to wound someone positioned in this guard requires skill and wit.This is similarlydivided into two types, the one called porta di ferro and the other cinghiale.

Porta di ferro stretta: Every time that you have your right foot forward one pace, which will be neitherlarge nor small, but proportionate, with the sword hand on the inside near the right knee, and the pointthereof aimed at the enemy.Porta di ferro larga: If you distance your hand from your knee somewhat, toward your left side,lowering the point toward the ground a bit, it will be called porta di ferro larga, because it makes thebody greatly uncovered.Porta di ferro alta: Being in porta di ferro larga, if you raise the sword hand somewhat, this will beporta di ferro alta, through being higher than the other two.Cinghiale porta di ferro is when you have the left foot forward and on the diagonal, that is, towardyour left side, and the right shoulder facing the enemy. What has been said about porta di ferro (namely,stretta, larga, and alta), can equally be said about the guard cinghiale porta di ferro.

1.4.2 High guards

Guardia d’alicorno is recognized when the handle is turned entirely down, and the arm is well extended,and the point somewhat low, which is aimed at the face or breast of the enemy, in a manner similar tothe unicorn, which, being attacked, fights in that manner with its horn.Guardia di testa is when one holds the arm well extended toward the enemy’s face, and the sword onthe diagonal, that is, so that its point goes toward your left side, and somewhat towards the ground, andit is called that because it protects the upper parts.Guardia di faccia is seen when the arm is well extended with the palm of the hand turned upwards,and the true edge of the sword facing inward, that is, toward the left side, and the point together with theright flank must face toward the enemy’s face. This is called such, because it guards the face excellently.Guardia d’entrare is done the opposite of the previous one, that is, one holds the arm and the swordextended, still at the enemy’s face, but the palm faces down and the true edge of the sword has to faceoutward, that is, toward the right side, and the body must have its right side turned somewhat towardthe enemy. It is named thus because it is a very strong guard for entering.Guardia alta is seen when the handle of the sword faces upward with the arm well extended, and thepoint is turned toward the rear, and this is named on account of being the highest one that can be formed.Guardia di sopra il braccio is done with the sword over the left arm, making the point face towardthe rear.Guardia di sotto il braccio is done with the sword under the left arm, making the point face towardthe rear.

1.4.3 Naming of the guards

Such names were applied to the guards by the ancients, and then confirmed by moderns through theiruse. And they are understood by such and accepted, if not by all, then by at least the greater part ofthose whose eyes are open to the art. It’s not that they couldn’t be named otherwise, but introducingnew names to ears accustomed to earlier ones wouldn’t be anything but a profitless annoyance, and achange devoid of benefit. It’s true that anyone can form them in his own way, as long as he is understood.But following the accepted rule and the practice of the majority, we’ll leave them as we’ve found them.

1.4.4 You can’t always remain in one guard

As a result of the variations in attacking, from which, reasonably, no blow can be thrown that doesn’tresult in some guard, as occurs with mandritti as well as with the imbroccata, which end in porta diferro or cinghiale porta di ferro. The riversi, then, finish in coda lunga, whether with the right or the leftfoot forward. The stoccata and also the punta riversa can end themselves in either the one or the otherguard; nonetheless the norm is for the punta riversa to finish in coda lunga stretta, and the stoccata inporta di ferro, and from here arises the difficulty.

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Chapter 1. Basics

1.4.5 Best guard

I hold all of them to be good and secure, because almost all of the art of fencing is founded on them, andfor this reason I’ve taught all of them. Nonetheless, the best one will be that to which you’ve accustomedyourself the most, and in which you’ve had the greater practice.

1.4.5.1 Practice

In training a lot, as I told you, and with a variety of partners, since by practicing with those of so manydifferent talents you’ll make yourself judicious, clever, and experienced. Accordingly, I exhort you notto do as many do, who, once they’ve been learning for a month, don’t care to practice with anyone else,since they think that by training with their Master they know a lot. And the shame is that they saythat they’ve learned secret blows that cannot be parried, and by this abuse they end up learning nothinggood.

1.5 Fourth heading: stepping

One steps with reason and art, and goes in all the guards to find the adversary. This can be done bybeginning with either foot, on the diagonal or having one foot drive the other forward, according to thetime and the need. Nonetheless, stepping with a pace neither large nor small is of greater utility, becausethereby you can both advance forward and retire back without bodily discomfort, always accompanyingthe hand with the foot. But you must be advised that the forward leg must be a bit bent at the knee,and its foot must point straight toward the enemy ; and the rear leg will be a bit curved and with its footsomewhat on the diagonal, in such a manner that every movement will be full of grace.

1.5.1 A form of practicing stepping

The first part, moving forward:

1. Suppose you have your sword at your left side, in the act of laying hand upon it, and the heel of yourright foot near your left one. Both your knees will be straight and not bowed, arranging yourself withas much grace as possible.

2. Put your right foot forward toward your right side, and in that tempo you’ll extend your arm and doa falso (dritto), and a riverso sgualimbro; or do two riversi, the first tondo and the second likewisesgualimbro; thereby going with your sword into coda lunga stretta.

3. Step forward with your left foot toward your left side, doing a falso (manco) and mandritto sgualimbroin that instant, and the sword will fall into cinghiale porta di ferro.

4. Go forward one pace with your right foot, and in that tempo you’ll turn a dritto tramazzone, whichwill end in porta di ferro stretta.

5. Advance with your left foot, doing a falso1, and a riverso sgualimbro, and the sword will go into codalunga alta.

6. Step forward with your right foot and in the same tempo you’ll throw a riverso ridoppio, stopping thesword in guardia d’alicorno.

7. Being fixed in the said guard you’ll drive an imbroccata without any taking any step, and the swordwill stop in porta di ferro stretta.

The second part, moving backward:

1. From here (porta di ferro stretta) you’ll withdraw your right foot a pace, and all in one tempo you’llexecute a falso and a riverso sgualimbro, and the sword will return to coda lunga alta.

2. Draw your left foot back, and next turn a mandritto tramazzone, which will end in porta di ferrostretta.

3. Return your right foot back a pace, turning a dritto tramazzone in that tempo, with which you’ll fallinto cinghiale porta di ferro.

4. Draw the left foot back, doing a falso (manco) and riverso sgualimbro in that instant, and the swordwill return to coda lunga stretta, and thus you’ll be returned to the same place with the same guards.

In this form you move forward and then backward because you get good practice in changing guards asmuch forward as back, which is necessary in the art, and of very great utility; and so that you understand,

1Both manco and dritto are possible. According to the pattern, I guess it’s a falso manco

4

Chapter 1. Basics

this stepping is one of the chief things that you must practice if you want to have grace with weapons inhand.

5

Part I

Unaccompanied sword

6

Chapter 2

About the unaccompanied sword

2.1 Why it’s important

The principal reasons why the (unaccompanied) sword is preferred to other arms are that, first, there beingnothing in the world more highly prized than honor, which consists in knowing how to conduct yourselfvirtuously, if someone comes to be placed in doubt through opposition or villainous undertakings, or someshortcoming, he must defend it with his own valor, and the other must legitimize his assertion. And onesees how apt the unaccompanied sword is for doing this. Because those who appear most courageous andof greatest valor in the most resolute duels appear in shirts with the unaccompanied sword. And therebythey show the most manifest proof, more confident in reason and their own virtue than in other coveringor the company of arms, either offensive or defensive. And almost all the understanding is founded uponthe unaccompanied sword, and in it one comprehends the entirety of fencing, and all the other armsdepend upon it. And whoever has knowledge of it can easily have knowledge of all the others, althoughnot so for the converse. Beyond which, the unaccompanied sword is accepted everywhere, and is usedmore, and can be had more easily, but this does not occur with the others. Whence this arm is reasonablypreferred to all the others.

2.2 Parrying

The sword can only parry in two ways: either with its true edge, or with the false one. The said falsois divided into two types, namely dritto and manco. You can avail yourself of the falso dritto to hit theenemy’s sword toward the outside, that is, toward his right side; and of the falso manco, toward his leftside. And any time that you hit the blow with a falso manco, you can wound thereafter with either a cutor a thrust, but when you hit it with a falso dritto, you can’t wound except with a cut.

2.2.1 Parrying with the falso dritto

When you’re in motion to hit the enemy’s blow with a falso dritto and want to wound with a mandritto,that you should immediately turn your wrist downwards and your body behind your right side. By doingthis you’ll hit the enemy’s sword almost with your true edge. And in the same tempo you’ll turn a drittotramazzone, so that you’ll be more secure, because you’ll distance the enemy’s sword further from you,and also come to parry and strike almost in one tempo. Moreover, your sword will always be in youradversary’s presence.

But you need to have a limber body and a very fast wrist, because otherwise it will do you no good.Because someone who parries with a falso dritto and doesn’t have a limber body and fast wrist couldeasily throw the enemy’s sword into his own face. And for this reason there are many who curse it. Butsince I hold a different opinion, I exhort you to practice it, since by doing so you’ll come to limber up yourbody and improve your wrist; and moreover you’ll make yourself good at parrying, and fast at striking.

2.2.2 Parrying with the true edge

Every time that you parry with the true edge, either on the right or the left side, you’ll be able to respondwith either a cut or a thrust, because where one wounds with a thrust, one can also wound with a cut.

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Chapter 2. About the unaccompanied sword

Both defenses with both the false and true edge of the sword are good, however the defenses that aredone with the true edge of the sword are better and surer. Because they are almost always done withthe forte of the sword, that is, from the middle back, and also (as I’ve told you), one can always woundwith either the thrust or the cut; and moreover, the point of the sword almost never departs from theenemy’s presence. But on the contrary, the defenses that are done with the false edge are less strong andsure, because most of them are done with the debole of the sword, which is from the middle forward, norcan one ever wound with a thrust, and it also departs from the enemy’s presence; so for these reasons Ihold parrying with the true edge of the sword to be better and surer.

2.3 Parts of the sword

The sword has greater strength from its middle forward than from its middle back in striking, but not inparrying.

2.4 Which is better, the cut or the thrust

Both are good. Nonetheless, I hold wounding with the thrust to be better, because the thrust takes lesstime through being nearer to the enemy, and it’s also more fatal, nor does it ever depart from presence,for the safety of the one who holds it. But on the contrary, the cuts make a man more uncovered, andalso take more time, because in the motion of the hand the sword is distanced further from the enemy.And therefore I hold striking with the thrust to be better and safer.

2.5 The motion of the feet and the body

When you find yourself in guards with your right foot forward, and it happens that youtake two tempi, that is, parrying and then striking, that you’ll draw your left foot near your right onein the tempo in which you parry, and then while striking you’ll step forward with your right. And so yourleft foot accompanies your parry, and your right one accompanies your attack.

And on the contrary, when you parry and strike in a single tempo, while you move your swordyou’ll also go forward with your right foot, making your left one follow it, and in this case the right footwill accompany both.

But when you’re in guards with the left foot forward, the right foot will almost always accom-pany both the parry and the attack, and the left leg must follow the right.

And regardless of which foot you have forward, you’ll turn your body and rear leg to the opposite ofthe side on which you parry or hit the enemy’s blow, because by doing so you’ll make two defenses in onetempo, one with the sword and the other with the body. Moreover, you’ll distance yourself from the saidsword and draw significantly closer to his opening, and it will be easier and safer for you to strike him.

I also want to advise you to keep your arm well extended during your defense of both sides, becausethereby you’ll push your enemy’s blows further away from your body, and also be stronger and faster instriking.

8

Chapter 3

Fifth heading, I: Defense andcounter from each guard

3.1 When you’re in coda lunga stretta

3.1.1 Against a dritto fendente to the head

Your defense Your attack

Draw your left foot near your right one,turning your body as I’ve said behindyour right side, and in that tempo you’llraise your sword into guardia di testa,parrying the blow

• immediately step forward with your right foot, throwinga mandritto sgualimbro to his head, followed by a riverso,with you’ll return into the said guard, or

• wound him with two dritti tramazzoni, or• thrust an imbroccata into his chest followed by a dritto

tramazzone

Step toward the enemy’s left side withyour right foot and parry him with amezzo mandritto

• immediately turn a riverso to his face, followed with an-other riverso; or

• thrust a punta riversa into his chest, together with ariverso tramazzone, which will end you in the aforesaidguard

Step forward with your right foot, mak-ing the left one follow it, and parry thesaid fendente in guardia di faccia.

Thrust the point into his face in that tempo, and for yourshelter you’ll turn a riverso tramazzone with which you’llgo into the aforesaid guard.

In the same tempo in which he wants to throw a blow at your head,

• thrust a punta riversa to his chest, or• wound the enemy’s hand with a mezzo mandritto,and for your defense immediately go with your sword into guardia di faccia, parrying the enemy’sblow, and having done this, you’ll settle yourself back into the same guard.

3.1.2 Against a mandritto, either sgualimbro or tondo, to the head

Follow the same rule given above, for parrying as for striking; except that when you go to parry with yoursword in guardia di testa, you’ll lower your point somewhat toward the ground, turning your body behindyour right side, keeping your arm well extended, so that thereby you’ll render yourself more secure.

You could also let his blow go in vain, and immediately wound him with whatever seems mostconvenient to you. That is, when you see the said blow approaching, you’ll void your body, drawing itback somewhat, and poise yourself entirely upon your left foot, feinting as if you’ll parry; but letting hisblow pass, you’ll push a thrust into his flank, or turn a dritto tramazzone to his sword arm. Having donewhich, you’ll settle yourself into coda lunga stretta.

9

Chapter 3. Fifth heading, I: Defense and counter from each guard

3.1.3 Against a mandritto to the leg


Parry it with the false edge of thesword, stepping forward with your rightfoot,

• turning two dritti tramazzoni to his head in that tempo,making your left leg follow behind your right, and imme-diately returning into the aforesaid guard. Or,

• turn a riverso from beneath upwards, followed by an im-broccata.

Draw your right foot near your left onestick your point in his face in that tempo; then immediatelyadopt the aforesaid guard

3.1.4 Against a mandritto ridoppio


A mezzo mandritto sgualimbroGive him a riverso tondo to the head

A punta riversa to the chest followed by a riverso tramaz-zone, with which you’ll settle yourself in the aforesaid guard

3.1.5 Against a riverso fendente to the head


Go with your sword into guardia ditesta, and parry it there

• Immediately step toward his right1 side with your rightfoot, turning two mandritti to his head with your wrist,or

• wound him with an imbroccata to the chest

Parry him in guardia d’entrare, step-ping toward his right side with yourright foot

Stick your point in his face in that tempo, and having doneso, return into the same guard

1: I think it should be left instead of right, considering the direction of the strike and also the mandrittomade after the parry. Another possibility is that it’s the point-upward guardia di testa. If so, this play istotally fine.

3.1.6 Against a riverso, sgualimbro or tondo, at your head


Hit it with the true edge of your sword• Immediately turn a riverso to his head; or• stick an imbroccata through his flanks.

Go into guardia d’entrare Thrust the point into his chest in the same tempo

Feint as if to parry, and let the blowturn in vain

Wound him with whatever seems most opportune; however,immediately restore yourself to the aforesaid guard

3.1.7 Against a riverso to the leg


Parry that with a riverso ridoppio• immediately advance with your right foot, turning a

dritto tramazzone to his head, or• thrust an imbroccata to his chest.

Draw your leg back,• sticking your point in his face, or• turn a riverso to his sword arm,

and immediately return into coda lunga stretta.

10


3.1.8 Against a riverso ridoppio

You can parry it with a riverso, and wound him with whatever seems most suitable, and immediatelyresume the aforesaid guard.

3.1.9 Against an imbroccata


Hit it with the false edge of the sword,dropping its point toward the ground,turning your wrist well and your bodybehind your right side

All in one tempo, turning two dritti tramazzoni to his head,making the last one fall into porta di ferro

Parry it with a mezzo mandritto,

• thrusting him in the breast with a punta riversa, or• slicing him in the face with a riverso,

followed by another riverso with which you’ll return intothe aforesaid guard.

Draw your right foot near your left one,and beat it away upwards in that tempowith a riverso ridoppio

Immediately advance and push an overhand thrust into hisface

Draw back your right foot a pace

Wound him in the hand in that tempo with a mezzo man-dritto which will descend into cinghiale porta di ferro. Thenimmediately do a falso and a riverso, returning your rightfoot forward, settling yourself into the previously namedguard

3.1.10 Against a stoccata into your chest


Parry it with a falso dritto, turningyour wrist and body well as I’ve said

In the same tempo you’ll turn two mandritti to his headwith your wrist

Parry it with a mezzo mandrittoImmediately extend a thrust to his face, then for your shel-ter turn a riverso sgualimbro, with which you’ll resume theaforesaid guard

Join your true edge against the enemy’ssword

Extend the point into his breast all in one tempo, and you’llfind yourself with your sword in guardia di faccia, whencefor your protection you’ll turn a riverso tramazzone, return-ing into the aforesaid guard

Draw your right foot back a paceIn that tempo throw a mezzo mandritto at the enemy’shand, and then immediately return to the guard of whichwe’ve discussed

When he throws the said stoccata at you, in that instant turn a riverso tramazzone to hissword arm, but your left foot will have to follow your right one

11


3.2 When you’re in coda lunga alta

3.2.1 Against a mandritto to the head


Pass forward with your right foot andgo with your sword into guardia di testaall in one tempo in order to defend your-self,

making your left foot follow your right one, and

• immediately thrust an imbroccata into his chest, or• turn two dritti tramazzoni to his head.But for your shelter, you’ll return your right foot back apace together with a riverso, which will stop in the saidguard.

One can also let the blow pass Wound him with whatever will seem most opportune

During your stepping with the rightfoot, you could as well parry it with amandritto sgualimbro

• immediately give him a mandritto tondo to the head, or• slice him in the face with a riverso,having done which, you’ll return your right foot to the rear,throwing a riverso tramazzone in that tempo, with whichyou’ll return to the same guard above.

Pass forward with your right foot andgo with your sword into guardia di fac-cia to protect yourself

Stick the point immediately into his face. And having doneso, you’ll resume the same named guard

One can give him a mezzo mandritto to the sword hand, stepping somewhat toward his leftside with the right foot, and immediately place oneself in the aforesaid guard



Parry it with a falso dritto, advancingforward with your right foot during thatparry,

and all in one tempo

• you’ll turn a riverso from beneath upwards to the en-emy’s arm, or

• turn a dritto tramazzone to his head.

Draw back your legThrust a stoccata into his face, and then immediately placeyourself back into coda lunga alta

3.2.3 Against a riverso to your head


Immediately go into guardia di testato defend yourself, stepping with yourright foot in that tempo,

• turning two dritti tramazzoni to his head, or• thrusting an imbroccata to his chest

Parry in guardia d’entrare Thrust the point into his face in that tempo

Allow the blow to go in vainImmediately wound him with whatever will be most conve-nient, and having done so, return to the aforesaid guard

3.2.4 Against a riverso to your leg


Draw back your footStick the point in his face in that tempo, returning imme-diately back to the customary guard

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Step forward with your right foot, par-rying with the falso in the way I toldyou in the advice above, namely byturning your body well behind yourright side

Turn two dritti tramazzoni to his head with your wrist, hav-ing done which, you’ll arrange yourself in the same guard

Step forward with your right foot, andparry with a mezzo mandritto sgualim-bro, and

• immediately wound him in the chest with a punta riversa,or

• slice him in the face with a riverso tondo followed byanother riverso, with which you’ll return into coda lungaalta.

Retire back a pace with your left foot

Wound the enemy’s hand all in one tempo with a mezzomandritto, and after this make a turn of the fist, returningforward with your foot, and setting yourself in the aforesaidguard

3.2.6 Against a stoccata to your chest


Parry it with a falso, turning your wrist well,together with your body

Advance forward all in one tempo wound him in thehead with two dritti done with your wrist, makingthe last one fall into porta di ferro

Parry with the true edge of your sword and• immediately stick the point in his face, or• cut him with a riverso tondo to the face.

As you step with your feet you can adjoin theforte of the true edge of your sword onto thatof your enemy

Stick your point into his chest

Turn your left foot backGive him a mezzo mandritto to his sword hand inthat tempo

Step into a large pace toward the enemy’s leftside with the right foot

In that step, push an overhand thrust into his flank

Defend yourself from the said thrust by step-ping toward his left side with your right foot,

turning a riverso tramazzone to his right arm all inone tempo

3.3 Similarity of the defenses and attacks from the guards

These defenses and attacks just spoken seem to be similar to those of coda lunga stretta, because thesetwo guards are of one same nature, nor is there any other difference except for the stepping that’s donewith the right foot, which one can’t help but do when wishing to parry the enemy’s blows and harm him.

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3.4 When you’re in porta di ferro stretta

3.4.1 Against a mandritto fendente to your head


Hit it with a falso manco,

• making your left foot push your right one forward, thenimmediately slice him in the face with a mandritto, whichwill return you to the same guard, or,

• having parried the said blow, you’ll step toward the en-emy’s right side with your left foot, turning a riverso tohis head in that tempo.

• Turn your fist downwards and immediately stick yourpoint into his face, followed by a dritto tramazzone whichwill end in the aforesaid guard.

Parry it in guardia di testa, passingpresently toward his left side with yourright foot, and

• give him two dritti tramazzone to his head, or• thrust an imbroccata into his chest, which will fall into

the guard named above.

Protect yourself with a riverso sgual-imbro, stepping somewhat toward hisright side with your left foot and imme-diately advance forward with your rightone,

• throwing an overhand thrust to his flank or• turning a riverso to his head, and having done this, re-

turn to the guard employed

Parry the said blow in guardia di facciaThrust the point into his face in the same tempo, and im-mediately return into the aforesaid guard

3.4.2 Against a mandritto, sgualimbro or tondo, at your upper body

Protect yourself against those either in

• guardia di testa or• guardia di faccia,whichever is easier, giving him whatever response is most opportune, because against these you can doalmost all of the same defenses that you’d done against the mandritto fendente.

3.4.3 Against a mandritto to your leg

Draw your right foot near your left one, thrusting the point into his face in that tempo, and having doneso, return into porta di ferro.

3.4.4 Against a riverso at your upper body


Hit it with the false edge of your sword,and

• promptly turn a riverso to his head, or• turn your fist downward and thrust the point into his

face, followed by a dritto tramazzone with which you’llreassume the aforesaid guard.

Parry in guardia di testa• immediately wound him either with a mandritto or• an overhand thrust.

Hit the said riverso with the true edgeof your sword

• Immediately turn your hand upwards and cut him in theface with a mandritto.

• Stick an imbroccata in his chest.

Parry in guardia d’entrareStick the point in his face in one tempo, having done which,one must return to the guard employed

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Protect yourself with a riverso ridoppio• In one stroke turn a riverso to his head or• push the point into his flanks

Draw your leg back somewhat Push the point into his face in that instant

3.4.6 Against a riverso ridoppio

Parry it with the true edge of your sword, and promptly wound him either with a riverso tondo or apunta riversa, followed by a dritto tramazzone, with which you’ll reassume the aforesaid guard.

3.4.7 Against an imbroccata to your chest


Parry that with the false edge of your sword,passing in that tempo toward his right sidewith your right foot

Turn a riverso to your enemy’s arm and then imme-diately returning into porta di ferro

A riverso sgualimbro Swiftly push an overhand thrust into his flank

Join your true edge with your enemy’s sword Immediately thrust the point into his face

Parry it with a dritto tramazzone, drawingyour right foot behind your left in that tempo,and making your sword go into cinghiale portadi ferro

Advance forward a pace with your right foot, accom-panied by a dritto tramazzone, with which you’ll re-turn to the aforesaid guard

3.4.8 Against a stoccata


Parry it with a falso manco, and then

• slice him in the face with a mandritto or• turn a riverso to his head, making one foot push the

other one forward.• Make a half turn of your fist and push the point into his

face all in one tempo, followed by a dritto tramazzonewith which you’ll go into the guard named above.

Defend against it with a riverso sgual-imbro, advancing forward somewhatwith the left foot toward the enemy’sright side, then

• gliding forward with the right one and wounding himwith a riverso to the thigh, or, after you’ve parried,

• you can thrust an imbroccata to his flank, with whichyou’ll fix yourself in the aforesaid guard.

Go into guardia d’entrare against thesaid stoccata, placing the forte of yourtrue edge against the enemy’s sword

Push the point into his chest

Retire back a pace with your right foot,and

in that tempo you’ll turn a dritto tramazzone to his swordarm, which will fall into cinghiale porta di ferro. Then you’llimmediately pass forward with your right foot, togetherwith a mandritto with your wrist, with which you’ll settleyourself into said guard

3.4.9 Larga and alta

Almost all of the same defenses be performed could be done if you were in porta di ferro larga or porta diferro alta, because these three guards are of one same nature, so there is still but little difference betweenone of them and another. And so that you understand, the wide guards serve in the wide play, and thenarrow ones in the narrow.

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3.5 When you’re in cinghiale porta di ferro



Step forward with your right foot andparry in guardia di testa, and

• immediately turn two dritti tramazzone to his upperbody or

• thrust an imbroccata into his chest,

making your left leg follow behind your right one, and im-mediately return your right foot back a pace together witha dritto tramazzone with which you’ll fix yourself in thesaid guard

Parry him in guardia d’entrare, advanc-ing forward with your right foot

Thrust the point into his face in the same tempo

Hit the said blow with a falso mancofrom beneath upwards, stepping for-ward right away with your right foot,and

• immediately turning a riverso to the head, or• cutting him with a mandritto to the arm.

And having done so, you’ll place yourself back in the afore-said guard.

During the stepping forward to go intoguardia di faccia with your sword in or-der to protect yourself, and

1. in that tempo thrust the point into his chest. Beyondwhich, once you’ve parried in guardia di faccia,

2. you can advance toward the enemy’s right side with yourleft foot and turn a riverso to his head, and immediatelyreturn into your guard.



Parry it with the false edge of yoursword

• Strike him in the head with a similar riverso.• Turn your fist downwards, pushing the point into his

face.

Hit it with a riverso sgualimbro, ad-vancing forward with your right foot

Stick an imbroccata through his flank

you could go into guardia d’entrare withyour sword

Protect yourself from him there, thrusting the point in hisface in the same tempo; having done which, you’ll returnto the employed guard



Advance with your right foot, and parry witha riverso ridoppio

Thrust an imbroccata to his chest in response

Draw your foot backStick a thrust in his face in that tempo, and havingdone such, reassume the aforesaid guard

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Parry that with the false edge• Turn a riverso to his head.• Cut him in the face with a mandritto.

Hit it with the true edge of your sword,stepping forward with your right foot atonce

Thrust your point through his flank

Adjoin your true edge upon his swordand step forward all in one tempo

Thrust your point into his face

Draw your left foot behind your rightone

Turning a dritto tramazzone in that tempo tohis sword hand, and then immediately return intocinghiale porta di ferro



Parry it with a falso manco, advancingforward with your right foot

• Immediately turn a riverso to his head.• Cut him in the face with a mandritto.• Make a half turn of your fist, and thrust your point into

his face.

Draw your left foot backTurn a dritto tramazzone to your enemy’s hand in thattempo

Meet it with the forte of your true edge,advancing with your right foot

Thrust your point into his chest in the same tempo

Parry with a riverso sgualimbro, step-ping forward immediately

Wound him with an imbroccata to the flank, followed bya dritto tramazzone which will go into porta di ferro, andthen you’ll immediately return your right foot back a pace,together with a mandritto from the wrist, with which you’llfix yourself in the said guard

3.6 When you’re in guardia d’alicorno with the right foot for-ward

3.6.1 Against a fendente


Draw your left foot near your right oneand go with your sword into guardia ditesta to defend yourself, and

immediately advance with your right foot and

• turn a mandritto to his head with your wrist or• thrust an imbroccata to his chest.

When parrying in guardia di testa, pre-tend to give him a dritto tramazzone tohis upper body

All in one tempo turn a riverso to his thigh together with ariverso ridoppio, with which you’ll return to the said guard

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3.6.2 Against a mandritto, either sgualimbro or tondo


Turn your left side behind your right, andyou’ll defend yourself with your sword inguardia di testa, lowering the point a bit to-ward the ground

• Immediately turn two dritti tramazzoni to hishead.

• Stick the point in his chest.

Parry in guardia di faccia Thrust the point into his face in the same tempo

Parry with a mezzo mandritto sgualimbroImmediately respond to him with either a puntariversa or a riverso tondo, and having done so, you’llreturn to your guard

3.6.3 Against a mandritto or riverso to your leg


Draw your right foot back somewhat,• pushing an imbroccata into his chest or• turning a mandritto to his right arm.



Parry it with your sword in the sameguard, and

thrust your point through his flanks in one tempo, havingdone which, you’ll return into the aforesaid guard with ariverso from beneath upwards.

3.6.5 Against an imbroccata to you


Pass toward his left side with your rightfoot, making your left foot follow it, andparry with a mandritto sgualimbro

Immediately cut him with a riverso to the head or thrust apunta riversa into his chest

Draw your right foot near your left oneand smack it aside with a riverso ri-doppio

Immediately advance forward with your right foot and sticka thrust into his face

Cast your right foot back a pace

Give him a mandritto sgualimbro to his sword hand in thesame tempo, which will go into cinghiale porta di ferro;having done which, you’ll promptly return into the guardwhereof we speak

3.6.6 Against a stoccata to the chest


Step towards your enemy’s left sidewith your right foot

In that tempo you’ll smack it with a mandritto and imme-diately wound him either with a cut or a thrust, dependingon which seems good

Pass toward his right side with your leftfoot and beat it aside with your lefthand

Turn a riverso to his head all in one tempo, or thrust yourpoint into his face, and having done thus, reassume the saidguardia d’alicorno

3.7 All of the guards together

1. Coda lunga stretta against a mandritto to your head:

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(1) Parry it in guardia di faccia, advancing forward with your right foot, and

(2) thrust the point in his face all in one tempo,

(3) immediately return your right foot back a pace, followed by a riverso sgualimbro, with which you’llfix yourself in coda lunga alta.

2. Against an imbroccata:

(1) Pass forward with your right foot, making your left one follow it, and parry it with a mandrittosgualimbro and turn a riverso tondo to his face all in one tempo,

(2) followed by a riverso with which you’ll go into coda lunga stretta.

3. Against a mandritto to your leg:

(1) Protect yourself from that with the false edge of your sword, and

(2) turn two dritti tramazzone to his head in the same tempo, making the last one fall into porta diferro stretta.

4. Against a riverso to your upper body:

(1) Parry it with a riverso sgualimbro, passing toward his right side in that tempo with your left foot,and

(2) advancing immediately with the right one, you’ll wound him with an imbroccata to his face,

(3) followed by a dritto tramazzone with which you’ll go into porta di ferro alta.

5. Against a stoccata to your face:

(1) Advance forward with your right foot and go with your sword into guardia d’entrare, joining yourtrue edge onto the enemy’s sword all in one tempo, sticking the point into his chest.

(2) Draw your right foot back a pace, together with a dritto tramazzone, with which you’ll fix yourselfin cinghiale porta di ferro.

6. Against a mandritto, a riverso, or a thrust:

(1) Hit your true edge into the enemy’s sword, and then

(2) immediately pass forward with your right foot and stick an imbroccata into his chest

(3) followed by a dritto tramazzone with which you’ll settle yourself into porta di ferro larga.

7. Against a punta riversa to your face in order to give you a mandritto tondo:

(1) Hit the said thrust with your false edge.

(2) When he turns the mandritto, you’ll immediately go into guardia di faccia with your sword, stickingyour point into his face in that tempo.

(3) For your shelter you’ll turn your right foot back a pace together with a riverso tramazzone withwhich you’ll go into coda lunga alta.

8. Against a fendente to your head:

(1) Pass forward with your right foot, raising your sword into guardia di testa, and thereby you’llprotect yourself from it.

(2) All in one tempo you’ll cast your left hand onto his sword from beneath your own, performing agrip on him and

(3) immediately giving him a mandritto to his head or leg, as you wish;

(4) having done which, you’ll return into coda lunga stretta.

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Chapter 4

Fifth heading, II: Provoking andharming when being the first one toattack

4.1 Why provocations are done

Said provocations, so that you understand better, are performed for two reasons. One is in order tomake the enemy depart from his guard and incite him to strike, so that one can attack him more safely.The other is because from the said provocations arise attacks which one can then perform with greateradvantage, because if you proceed to attack determinedly and without judgment when your enemy isfixed in guard, you’ll proceed with significant disadvantage, since he’ll be able to perform many counters.Therefore I want to advise you that you mustn’t be the first to attack determinedly for any reason, waitinginstead for the tempi. Rather, fix yourself in your guards with subtle discernment, always keeping youreyes on your enemy’s hand more so than on the rest of him.

4.2 Both in coda lunga stretta

Provocation Counter

1. Gather your left foot near to your right one, then stepforward with your right foot, and in that step you’llhit a falso dritto into his sword, turning your bodywell behind your right side, and

2. turn a dritto tramazzone to his head in that tempo.

Immediately go into guardia di faccia withyour sword, sticking the point into his face

1. Having hit the falso into the enemy’s sword (as in theprevious item),

2. turn a riverso ridoppio to his right arm,3. followed by an imbroccata, and with it you’ll place

yourself in porta di ferro

• Thrust the point into his chest or• draw your right foot back a pace to-

gether with a riverso sgualimbro, withwhich you’ll go into coda lunga alta.

1. Give a mezzo mandritto to the enemy’s sword,2. promptly stepping forward with your right foot and

thrusting a punta riversa into his chest,3. followed by a riverso tramazzone which will fall into

coda lunga stretta

Turn a dritto tramazzone, drawing yourright foot back in that tempo, and yoursword will go into cinghiale porta di ferro

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Chapter 4. Fifth heading, II: Provoking and harming when being the first one to attack

1. Step forward with your left or right foot to his rightside, and extend a punta riversa to his face, and

2. as he raises his sword to defend himself, you’ll im-mediately advance forward with your foot and turn amandritto tondo to his head in the same tempo,

or,

2) after you’ve extended the said thrust, you’ll turn yourfist downwards, thrusting an imbroccata to his flank,and your sword will stop in porta di ferro.

• Immediately go into guardia d’entrare,joining your true edge to his sword,pressing the point into his chest; or

• as he extends the said thrust, you’ll hitit with a riverso, retiring your right footback a pace in the same tempo, followedby another riverso sgualimbro, whichwill fall into coda lunga alta.

1. Step forward toward your enemy’s left side with yourright foot and throw an underhand thrust to his facein that tempo,

2. making your left foot follow behind your right oneand your sword return into coda lunga stretta

As he throws the thrust in order to giveit to you in the chest [head], immediatelysend your right foot across to the enemy’sleft side, turning a riverso tramazzone tohis right arm all in one tempo, with whichyou’ll return into coda lunga stretta

1. Cut him with a mezzo mandritto to the sword hand,gathering your body backward somewhat togetherwith your sword in that tempo, and then

2. placing yourself into porta di ferro stretta,

and this is one way of inciting the enemy, since, seeingyou open, he’ll have reason to thrust at you. Once hethrusts at you,

3. immediately proceed with the forte of your sword onyour enemy’s, advancing forward with your right footall in one tempo and thrusting your point into hischest.

But if perchance he deviates, that is, disengages hisblade under yours, in order to put you aside and woundyou,

4. promptly turn the true edge of your sword and yourbody together with it against that of your enemy,raising up your fist somewhat,

5. sticking a punta riversa into his chest.

When he cuts toward his enemy’s handwith a mezzo mandritto, without step-ping you’ll raise your sword into guardiad’alicorno, thereby interrupting his intent

1. Place the true edge of your sword on that of yourenemy,

2. stepping somewhat forward toward his right side withyour right foot in that instant, so that by doing soyou’ll come to obligate his sword and will be able toharm him easily with a punta riversa.

But if he disengages his sword under yours in thattempo, wishing to strike you,

3. immediately turn your true edge outward against his,4. thrusting your point into his face

As he places his sword upon yours,

• promptly draw your right foot behindyour left one and turn a riverso tramaz-zone in that tempo, which will fall intocoda lunga alta.

• You could also draw your right foot backa pace, turning a mandritto with yourwrist in that instant, with which you’llfix yourself in cinghiale porta di ferro.

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4.3 Both in coda lunga alta

Provocation Counter

Pass forward with your right foot and executea falso and mandritto against his sword

Immediately change your pace, turning the true edgeof your sword upward in that tempo, fixing yourselfin guardia d’alicorno.

1. Having done the falso,2. make a feint of turning a dritto tramazzone

to his head,3. but rather turn a riverso to his thigh.

During the hitting that he does with the falso you’llturn a riverso tramazzone, drawing your left footback, and your sword will remain in coda lungastretta

1. Glide your right foot forward, thrusting astoccata to his face, followed by

2. a mandritto to his heador

2) leg as you wish.

1. Without moving your feet you’ll parry it with thetrue edge of your sword,2. Immediately pass forward with your right foot,and go with your sword into guardia di faccia to pro-tect yourself, thrusting your point in his face all inone tempo.2) Draw your left foot near your right one and sticka punta riversa into his face in the same tempo

1. Glide your right foot forward [and right],you could extend an overhand thrust to hisflank, turning your left side behind yourright in that tempo, and

2. for your defense you’ll draw your right footbehind your left one, together with a riversosgualimbro, with which you’ll return intocoda lunga alta.

Promptly turn a riverso tramazzone to his sword arm[while passing back], with which you’ll fix yourself incoda lunga stretta.

4.4 Both in porta di ferro stretta

Provocation Counter

1. Hit his sword with a falso manco , makingyour left foot push your right one forward,and

2. immediately cut a mandritto to his rightarm, and return your sword into the saidguard.

Immediately turn a dritto tramazzone, drawing yourright foot back a pace in that tempo, and your swordwill go into cinghiale porta di ferro; and with thisdefense you’ll have interrupted his intention

1. Hit the sword with a riverso ridoppio, mak-ing your left foot follow your right one, and

2. thrust an imbroccata into his chest all inone tempo, and your sword will fall into theaforesaid guard.

Pass forward with your left foot, but during the ex-tension of the thrust, you’ll parry it with a riversosgualimbro;having done which you’ll advance forward with yourright foot,

• sticking an imbroccata into his flank; or,• adjoin the true edge of your sword onto that of

your enemy’s, sticking your point in his face inthat tempo

1. Pretend to give him a dritto tramazzone tothe head, and

2. as he raises his sword in order to defend it,you’ll turn a riverso tondo to his thigh.

1. Go with your sword into guardia di faccia.2. Immediately casting your right foot behind yourleft one, you’ll turn a riverso to his arm.

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1. Beat his sword with a mezzo riverso, and2. passing forward with your left foot all in

one tempo, thrust a punta riversa to hisface, and then

3. immediately advance with your right foottoward his left side, turning a mandrittotondo to his head;

or, having extended the said thrust,

3) you can also pass forward with your rightfoot and extend another thrust to his chest,and

4) for your defense you’ll make a riverso tra-mazzone to his sword hand, casting yourright foot behind your left one in thattempo, and your sword will rest in codalunga alta.

1. Don’t make any movement.2. During his pushing of a punta riversa, you’ll parrywith the false edge.3. Draw back your right foot and give him a mezzomandritto to his sword hand.3) During the stepping that he makes with his rightfoot in order to give you the second thrust, you’llparry it with a mezzo mandritto, wounding him inthe chest with a punta riversa, followed by a riversosgualimbro with which you’ll fix yourself in codalunga stretta.[Not included in the provocation] If he extends athrust to give you a riverso ridoppio,2* you’ll parry that with your true edge, and3* as he turns the ridoppio, you’ll guide your rightfoot toward his left side, turning a riverso sgualimbroin that tempo, which will go into coda lunga stretta.

1. Go forward with your right foot, and placethe true edge of your sword upon that ofyour enemy in the same tempo, and

2. thrust the point into his chest,3. and thereafter reassume the employed

guard.

• Immediately turn your left side behind your rightone, throwing a riverso from beneath upwards tohis arm in that tempo, and your sword will ascendinto guardia d’alicorno.

• Step diagonally with your right foot while he ex-tends the said thrust, and disengage your swordunder his in the same tempo and stick the pointinto his chest.

4.5 Retiring one pace back when countering

That almost all of these counters are based on retiring backwards a pace is not to be doubted. Any timethat your enemy hits your sword, whether with the true edge or the false one, in order to drive you outof guard so that he can harm you more surely, the counter to it will be that, if he hits your sword towardyour right side, you’ll immediately turn a riverso tramazzone, retiring your forward foot straight back oralong the diagonal. But if he hits it toward your left side, you’ll promptly turn a dritto tramazzone, alsodrawing your forward foot back a pace, because by doing such you’ll interrupt his plan.

Many deceive themselves who say that drawing backwards a pace is a great shame. Rather, I hearthat it’s entirely the opposite, that is, that this is nothing else than a change of guard, which is a verysafe and necessary protection. If it weren’t so, this art would be imperfect, since there are a great numberof blows that you could not parry except by withdrawing back a pace.

4.6 Little difference between provocations employed in each guard

There are few differences, since ultimately all the blows resolve only into a cut or a thrust. And thereason is that wounding with either the true edge or the false one, be it to the right or left side, eitherhigh or low, will always be a cut. Similarly, if you wound with either an imbroccata, or a stoccata, or apunta riversa, it will always be a thrust. And therefore everything resolves into a cut or a thrust.

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4.7 Both in cinghiale porta di ferro

Provocation Counter

1. Push a thrust toward his face, passing for-ward with your right foot and

2. • turning a mandritto tondo to his head,or,

• after you’ve pushed the said thrust,you’ll turn a dritto tramazzone.

1. As the enemy pushes the thrust with his right footforward, you’ll ward that with your false edge.

2. • Immediately go with your sword into guardiadi faccia, thrusting your point into his face; or

• you’ll cast your left foot behind your right one,harming his sword arm with a mezzo mandritto.

1. Thrust a punta riversa toward his face dur-ing the advance of your foot, and

2. as he raises his sword to parry it, you’ll im-mediately pass toward his right side withyour left foot, thrusting an imbroccata intohis flank,

3. followed by a dritto tramazzone with whichyou’ll fix yourself in cinghiale porta di ferro.

1. Step forward with your right foot and hit it withthe true edge of your sword.2. In the step that he takes in order to push theimbroccata into your flank, you’ll parry it with ariverso ridoppio, and immediately wound him in thechest with an overhand thrust,and for your shelter you’ll turn a riverso sgualimbro,drawing your right foot back, and your sword willstop in coda lunga alta.

4.8 Both in guardia d’alicorno (with the right foot forward)

Provocation Counter

1. Advance toward his left side with your rightfoot, making your left one follow it, andturn a mandritto sgualimbro to his swordin that tempo, and

2. immediately slice his face with a riversotondo

3. followed by a riverso sgualimbro with whichyou’ll fix yourself in coda lunga stretta

1. Cast your right foot behind your left one, turninga riverso tramazzone in that tempo, which will gointo coda lunga alta

You’ll provoke him to respond if,

1. almost without moving your feet fromthere, you extend an overhand thrust whichwill fall into porta di ferro,

and with these provocations you’ll make himthrow something.

Make a sign of following it with an imbroccata tohis face; and if he raises his sword to defend himself,you’ll immediately lower the point of your sword un-der that of your enemy, pushing the point into hisflanks all in one tempo, with which you’ll place your-self in porta di ferro stretta

24

Chapter 5

Tempo

5.1 Secret blows that are indefensible?

I don’t believe it, since I’ve conversed otherwise with my Masters and with infinite cognoscenti of thisart; nor have I seen nor learned any such thing. On the contrary, I’ve always said and it’s remainedclear to me through experience that every dritto has its riverso, that is, that every blow has its parry. Inconsequence whereof I believe that if this were the truth, that this art would be held in a much higherreputation than it is.

5.2 How to wound if every blow has its parry

With the tempo. Because every time that you attack in tempo, you’ll be safe, whereas on the contrary,when you attack outside of tempo, you could be harmed.

If attacking outside of tempo, someone who proceeds determinedly without any advantage to attackan enemy who is fixed in guard will proceed outside of tempo, because in that case he’ll find him free toperform the counters as I described to you in the fifth heading.

5.3 Five tempi for attacking

1. Once you’ve parried your enemy’s blow, then it’s a tempo to attack.2. When his blow has passed outside your body, that’s a tempo to follow it with the most convenient

response.3. When he raises his sword to harm you: while he raises his hand, that’s the tempo to attack.4. As he injudiciously moves from one guard to go into another, before he’s fixed in that one, then it’s a

tempo to harm him.5. When the enemy is fixed in guard, and he raises or moves his forward foot in order to change pace or

approach you, while he raises his foot, that’s a tempo for attacking him, because he can’t harm youas a result of being unsettled. If he moves his rear foot, it’s also a tempo, but not as much of one aswhen he moves the forward one.

5.4 In how many tempi one can attack with a sword

In two tempi, one tempo, and half a tempo (mezzo tempo). The two tempi are when the sword parries,and then strikes. One tempo is when one attacks without parrying the blow, or when one parries andattacks in one instant. The half, and last, is when one attacks while the enemy is throwing his blow.

5.5 Move feet or changing the guard judiciously and withoutdanger

If you know that your enemy can reach you by extending his sword during your change of pace or guard,then you can move back or pivot around, turning a tramazzone to his sword in that tempo. You can

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Chapter 5. Tempo

also move your rear foot, or while moving yourself hit the enemy’s sword with your false or true edge,throwing a cut or thrust at him, depending on the circumstances, because by doing so you’ll come tomove with judgment and without danger.

They resemble the recommendations regarding provoking the enemy, because you can’t proceed safelyto attack without them, but have to wait for the tempi.

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Chapter 6

Sixth heading: half sword

6.1 False edges in contact (falso to falso)

Attack Counter

1. Advance toward his left side with your rightfoot, turning a mandritto tondo to his headand

2. immediately returning back with the samefoot, together with a riverso sgualimbro whichwill go into coda lunga alta

1.

• Promptly go into guardia di faccia to protectyourself, thrusting your point in his face in thattempo.

• Draw your forward foot back a pace, turninga mandritto sgualimbro to his right arm inthat instant, with which you’ll go into cinghialeporta di ferro.

1. Step forward with your foot and pretend togive him a mandritto tondo, nonetheless

2. turning a riverso to his head,3. immediately returning backward with your

foot with a mandritto tramazzone which willdescend into cinghiale porta di ferro

1. While he makes the feint, you won’t move

2. • Go back with your forward foot and turn adritto tramazzone in the same tempo.

• Make a half turn of your fist downwards,turn your true edge against his sword, andthrust the point into his chest.

Immediately turn your sword hand downwards,advancing with your right foot, and thrust an im-broccata into his flank

Immediately draw your forward foot back a pace,turning a riverso tramazzone to the enemy’s armall in one tempo

1. Advance toward the enemy’s left side with yourright foot, lowering the point of your sword un-der his in that tempo,

2. thrusting the point into his chest.3. Then you’ll immediately direct your forward

foot back, together with a riverso sgualimbrowith which you’ll fix yourself in coda lungaalta.

1. While the enemy lowers his point,

• you’ll take his sword with your true edge,throwing a stoccata to his face, or

• immediately fade back with your feet,throwing a mandritto sgualimbro to the en-emy’s hand in the same tempo

1. Glide forward with your foot, feinting to woundhim with a mandritto, and

2. immediately catch his sword under your ownwith your left hand, wounding him with a man-dritto to his head or leg as you wish.

1. While he makes the feint in order to do the gripon you, you’ll promptly withdraw your forwardfoot a pace, and wound him with a fendente tothe head in that tempo.

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Chapter 6. Sixth heading: half sword

1. Beat the enemy’s sword to his left side,2. stepping forward and immediately slicing his

face with a mandritto3. followed by a riverso, with which you’ll end up

in coda lunga stretta;

or, once you’ve beaten the sword,

2) make a half turn of the fist, thrusting the pointinto his face and making one foot push theother one forward, and

3) for your shelter, you’ll draw the right foot backa pace together with a dritto tramazzone whichwill go into cinghiale porta di ferro.

1. When the enemy beats your sword, you’ll im-mediately turn your forward foot back, turninga tramazzone to his head all in one tempo.

They can be done with either foot forward, because the difference is that when you have your leftfoot forward, you’ll need to step with your right one; and when with the right one forward, you’ll needto advance with the same right one, but make your left one follow it; and this is the rule that you haveto follow in moving your feet.

6.2 True edges in contact

Attack Counter

Turn a riverso tramazzone to his head, steppingtoward his right side in that tempo with your leftfoot, and your sword will fall into coda lunga alta

While the enemy steps with his left foot in orderto give you the riverso,

• you’ll immediately turn your true edge againsthis sword, thrusting the point into his chest; or

• you’ll direct your right foot back a pace turninga riverso sgualimbro in that tempo with whichyou’ll go into coda lunga alta

1. Turn the back of your hand upwards, makingthe point of your sword go toward your enemy’sface, and

2. as he parries the thrust, you’ll immediatelyslice a mandritto to his chest that will slidedownward,

3. followed by a riverso sgualimbro, with whichyou’ll adopt coda lunga stretta.

1. When the enemy turns his point toward yourface in order to give you the mandritto, you’lldraw your right foot back a pace, turning a riversosgualimbro all in one tempo, which will end incoda lunga alta.

1. Make a feint of giving him a riverso, and2. nonetheless give him a mandritto tondo to the

head, and3. for your shelter you’ll draw your right foot back

a pace, followed by a dritto tramazzone withwhich you’ll fix yourself in cinghiale porta diferro.

1. As the enemy makes the feint of turning theriverso, you won’t move,

2. but as he turns the mandritto, you, being inguardia di faccia, will thrust the point into hisface;

then you’ll guide your right foot back a pace to-gether with a riverso sgualimbro which will gointo coda lunga alta.

1. Hit the hilt of your sword into your enemy’ssword, upwards toward his left side, passingforward with your left foot all in one tempoand

2. turning a riverso tramazzone to his head, withwhich you’ll fix yourself in coda lunga.

1. When the enemy hits his hilt into your sword,you’ll immediately draw your right foot back apace, giving him a mandritto tramazzone to hissword hand in that tempo, with which you’ll as-sume cinghiale porta di ferro alta

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Chapter 6. Sixth heading: half sword

1. Make a half turn of your fist, not removingyour sword from his, as if you were in the actof turning a riverso tramazzone, and

2. in that tempo you’ll turn the pommel of yoursword over his wrist on the outside, driving itdownward in such a way that

3. • you can wound him in the head with ariverso.

• In the same tempo, you could also put yourleft foot behind his right leg so that youcould easily make him fall, or

• alternately you could perform a presa onhis sword arm with your left hand and thenwound him however seems best

1. As you see the turning of his sword hand, you’llpromptly step toward his right side with your leftfoot, turning a riverso sgualimbro to his head,with which you’ll settle yourself into coda lungaalta

1. In reaching the half sword you’ll turn your fist,pushing his sword down, and

2. immediately cut a riverso tondo to his face,3. followed by a riverso sgualimbro with which

you’ll assume coda lunga stretta

1. When the enemy pushes your sword down,you’ll immediately draw your right foot back apace, turning a riverso tramazzone to the enemy’shand in that tempo, which will go into coda lungaalta

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Chapter 7

Trained to duel in a short time

7.1 The guards and how to fence

I would train him in only one guard, and would make him always parry with the true edge of the swordand strike with a thrust. The guard is porta di ferro stretta, followed then by guardia d’alicornowith the right foot forward; because even as all blows have their beginning in a guard, and then finishin another, this couldn’t be done without doing so either, given that one can’t throw an overhand thrustthat doesn’t begin in the said guard and end in porta di ferro; and for this reason that one’s necessary,as well.

Porta di ferro stretta is chosen for two reasons:

1. You almost never have to defend except on your right side.2. From this guard arise a great defense and a great offense, since one can defend oneself with a riverso

from every blow that the enemy can throw, and harm him with an imbroccata. And just as the parrywith a riverso is stronger and easier, so is wounding with an imbroccata deadlier andharder to defend against.

7.2 Provocation, defense and offense in porta di ferro and al-icorno

7.2.1 Provocation

Upon putting his hand to his sword, I’d want him to fix himself in guardia d’alicorno with his right footforward. And once he’s near his enemy, he’ll thrust an imbroccata without any stepping, which will endin porta di ferro stretta. And I’ll have him do this not in order to wound yet, but only in order to provokethe enemy to throw a blow, since in seeing the opening, he’ll have a reason to respond. If the enemydoesn’t want to respond, then he should move a little bit toward the right, and in that motion returninto guardia d’alicorno and thrust the imbroccata, whereupon he would be forced to respond or retreat.

7.2.2 Defense and offense

Enemy’s Attack Defense and counter

mandritto or riverso tothe head or a stoccata

Advance a bit toward the enemy’s right side with his left foot, and in thattempo parry the blow with a riverso sgualimbro, stepping promptly withhis right foot and thrusting an imbroccata to the chest, with which he’llreturn into the said guard

Riverso to the legDefend against that with a riverso ridoppio, following the same rule withregard to footwork, thrusting an imbroccata to the face with which he’ll gointo the aforesaid guard

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Chapter 7. Trained to duel in a short time

Imbroccata

Direct his left foot forward somewhat toward his right side, and defendagainst it with the true edge of the sword, then immediately glide forwardwith the right foot, and wound him in the chest with a similar thrust whichwill return him into the guard which we’ve been discussing

7.3 Another guard to practice

It would be quite good for any occasion to practice another guard, if he had enough time; because if theenemy also stepped toward his left side, he’d almost have to change guards. The guard is coda lungastretta, because in it, too, he can parry nearly all of the enemy’s blows with the true edge of his swordand attack with a thrust.

Enemy’s Attack Defense and counter

Mandritto to the headParry in guardia di faccia, making his left foot push his right one forward,and in the same tempo he’ll extend a thrust to his face and immediatelyreturn into the said guard

Riverso to the head

Go into guardia d’entrare, stepping forward somewhat with his left foot,and advancing with the right one all in one tempo and thrusting the pointinto his chest; and having done so he’ll put himself back into the aforesaidguard

Mandritto to the legDraw that the leg a bit, thrusting the point into his face in that instant andimmediately return to the aforesaid guard

ImbroccataParry that with a mezzo mandritto, and promptly throw a punta riversa tohis chest, making his left foot follow the right one, and immediately assumethe guard which we discuss

Underhand thrust

• Defend himself from that with the true edge of his sword, turning his bodywell behind his right side, and then wound him with a punta riversa;

• or he could go to encounter his enemy’s sword with the forte of his trueedge, turning his body as I’ve said, and thrust the point into his chestin that tempo, followed by a riverso which will return into coda lungastretta

7.4 The time required, and the problem

The time it would take someone to learn this manner of parrying with the true edge of the sword andwounding with a thrust depends on the person, because some are found who learn quickly, and someslowly. Nonetheless I have to believe that one could learn it in a month or a bit more; but I don’t believethat he could avail himself of it safely.

The reason is because he wouldn’t have experience in recognizing tempo yet, which, as I’ve told you,needs to be acquired through practicing with a variety of partners. From whence, for this reason, onecan conclude that very rarely will there be anyone who acquires the said experience through practicingonly with a Master, because he teaches for the purpose of knowledge of the art, this being his principalprofession. And so if he trained someone in order to make him experienced in such a brief period, hewould need to be the rarest of Masters; otherwise that could happen which occurs to many who arefooled, being led to the field by their honor, having never practiced with anyone other than just theirMaster. Whereupon honestly thinking themselves to have it, once they’d then laid their hands on, theydid that which nature dictated to them. And it all occurred because they didn’t have experience in usingthe art, and also because they’d put off the necessity of learning it until the end.

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Part II

Sword and dagger

32

Chapter 8

Basics

8.1 Guards

There are five guards:

Sword in Dagger in

1 coda lunga stretta cinghiale porta di ferro alta

2 cinghiale porta di ferro guardia di testa

3 porta di ferro (stretta) coda lunga alta

4 coda lunga alta porta di ferro alta

5 guardia d’alicorno with the right foot forward cinghiale porta di ferro

6 guardia d’alicorno with the left foot forward porta di ferro alta

This is the manner that you’ll have to follow in adopting the guards whether stepping forward or back,and on the diagonal as well, which can be done similarly with the sword accompanied by the cape.

8.2 Recommendations

1. When you happen to parry with the dagger and you knock the enemy’s sword to the outside, thatis, toward his right side, and especially his thrusts, you’ll hit it either with the flat or with the trueedge thereof, depending upon the need, turning your wrist outwards well, and holding your arm wellextended; but in the same tempo you’ll turn your body behind your right side, because doing so you’llpush the enemy’s blows further away, [35verso] and protect yourself from them greatly. But when youknock it toward his left side, always hit it with the true edge of the dagger, turning your body in theopposite manner.

2. As you move your dagger to parry, also move the sword to attack, always accompanying the foot withthe hand together with rotations of the body, as I’ve said.

3. When you want to join both weapons together in order to defend yourself, put your dagger on theinside of your sword, in such a fashion that its true edge touches the false edge of the said sword.Conjoined together, they’ll come to make an X, and over all hold your arms extended directly towardyour enemy’s face, for your greater safety.

4. Once you’ve wounded your enemy, if he responds to your upper body and you want to protect yourselffrom his response with accompanied arms, you’ll follow the same rule as above.

When I speak of defending and offending hereafter, and I make mention of accompanying the armstogether, you’ll follow the same method told above. Always making the dagger be on the insideof the sword, so that you’ll have a great advantage, since you’ll have your sword freer tobe able to wound the enemy, and especially so with a riverso, and also when parrying yoursword will be stronger by virtue of being supported by the dagger.

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Chapter 8. Basics

8.3 Size of the dagger

You should avoid extremes, that is, it doesn’t have to be either big or small, but of an honest length.But if you have to lean toward one of those extremes, I’d rather that you incline towards a bigger one,since you can parry with it more safely.

8.4 How to hold a dagger

Almost flat, making its true edge face somewhat toward your right side, because you’ll keep your wristfreer to be able to push away the enemy’s sword, and especially his thrust, in addition to which you’llhave greater strength in parrying blows to the head, through the dagger being supported by your thumb.And what’s more, holding it as I’ve said makes its hilt be a better defense.

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Chapter 9

Defense and counter from each guard

9.1 Applying the defense as the unaccompanied sword

Having already shown to you in the discussion of the unaccompanied sword how to defend yourself fromall the blows that can be thrown by the enemy, and the way to injure him, which (as I told you) alsoapplies to these arts [sword and dagger], whereof you’ll be able to avail yourself at your ease, I won’trepeat them to you.

9.2 Sword in coda lunga stretta; dagger in cinghiale porta diferro alta

9.2.1 Against a mandritto to your head


Step forward with your left foot and gointo guardia di testa with your daggerin order to protect yourself

• Thrust a punta riversa into his chest in the same tempo,followed by a riverso to the leg; or,

• cut him with a riverso to the thigh, or turn a mandrittoto the head or leg as you wish,

and then you’ll immediately withdraw your left foot backa pace, raising your weapons together into guardia di testain order to secure yourself against the response that comesto your upper body, having done which, you’ll return intothe aforesaid guard.

Parry with your weapons united, draw-ing your left foot near your right one inthat tempo, knock the enemy’s swordoutwards with your dagger

Immediately advance with your right foot and slice him inthe leg with a riverso.And for your protection, draw your right foot near to yourleft one, extending a thrust at him under your dagger, hav-ing done which, you’ll put yourself back into the aforesaidguard.

Your sword accompanied by your dag-ger in guardia di faccia

Advance with your right foot in that tempo, and thrust thepoint into his face, having done which you’ll settle yourselfback into the guard named above.

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Chapter 9. Defense and counter from each guard



Defend yourself with the true edge ofyour dagger, lowering its point towardthe ground

Gliding forward with your right foot all in one tempo, mak-ing your left one follow behind [and make whatever strikeis appropriate].

Draw your right leg along side your leftone

Thrust the point toward his face in the company of yourdagger, and immediately return into the guard that we’rediscussing.



Parry it with the true edge of yoursword,

• sticking an imbroccata in his flank, so that your left footpushes your right one forward; or

• turn a riverso, either high or low, whichever seems better

Parry the said blow with your sword ac-companied by your dagger in guardiad’entrare, stepping forward with yourleft foot

advance and thrust the point in his chest all in one tempo

Defend said riverso with the sword, ad-vancing somewhat with the right foot

immediately passing forward with the left one, and givinghim a thrust in the flank with the dagger; but once this isdone, you’ll return to the guards employed



Defend yourself with a riverso ridoppio,immediately advance with your right foot and thrust animbroccata into his face, making your dagger guard yourhead; having done which, you’ll settle into your guards



Send your left foot forward and knockit toward your right side in that tempowith the true edge of your dagger,

turning an overhand riverso to his head and making yourright foot follow behind

Draw your left foot near to your rightone, and parry with a mezzo mandritto

• immediately advance with your right and thrust a puntariversa, or

• cut him with a riverso tondo,

followed by another riverso with which you’ll go into yoursaid guards along with your dagger.



Knock that outwards with your daggerand step forward with your right footin that tempo,

• thrusting the point into his chest, or• giving him a mandritto to the leg

Withdraw you right foot back a pacegive him a mezzo mandritto to the sword hand in thattempo, and having done so, return to the aforesaid guards

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9.3 Sword in coda lunga alta; dagger in porta di ferro alta



Raise your dagger into guardia di testa,and then, protecting yourself from it,

• you’ll step forward with your right foot all in one tempo,thrusting your point into his chest; or,

• in stepping forward, you can give him a mandritto sgual-imbro across his sword arm,

and immediately return back a pace with your right footwith both weapons together, and put yourself back intothe said guards.

In stepping forward with your rightfoot, you can parry the said blowwith your weapons accompanying eachother, and

cut him with a riverso to the leg, making your dagger re-main in defense of your head.

In the advance of your feet you can pro-ceed to protect yourself from the saidmandritto with your sword in guardiadi faccia, together with your dagger,and

thrust your point into his face in that tempo, having donewhich, you’ll restore yourself into the aforesaid guards.



Parry it with the true edge of yourdagger, lowering its point toward theground, and

in that instant you’ll step forward with your right foot andstick a stoccata into his face, followed by a mandritto tothe leg

Draw your left leg back a pace,turning a riverso to his sword arm, and this accomplished,return into the guards named above.



Parry it with the dagger, and

immediately go forward with your right foot,

• thrusting a punta riversa to his chest, or• cutting him with a riverso to the thigh.

Parry the said blow with your sword inguardia d’entrare, supported with yourdagger, and

step forward in the same tempo and thrust the point intohis face, then immediately return your right foot back, ac-companying yourself with a thrust with which you’ll settleinto the aforesaid guards.



Draw your left foot near your right one,and

thrust the point to his face in the same tempo.

Pass forward with your right foot to-ward his left side,

turning a riverso sgualimbro to his sword arm, having donewhich, you’ll return into the guards whereof we speak.

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9.3.5 Against an imbroccata to the chest


Knock that toward his left side with thetrue edge of your dagger, and

turn an overhand riverso to his head in that tempo, makingyour right foot follow behind your left one.

Pass forward with your right foot, andin that passage parry the said thrustwith a mandritto sgualimbro,

wounding his chest with a punta riversa,and for your shelter you’ll return your right foot back apace, raising both your weapons all in one tempo intoguardia di testa, and then you’ll settle yourself into theguards of which we speak.



knock that outwards with the dagger,that is, toward his right side,

stepping forward with your right foot in that tempo, and

• thrusting a stoccata to his flank, or• turning a mandritto to his head or leg.

While taking the step you could parrywith the true edge of your sword and

immediately cut him with a riverso to the face

While taking the step, you could adjointhe true edge of your sword with thatof your enemy, and

thrust the point into his chest.

Draw your left foot back a pace, andwound him in the sword hand with a mezzo mandritto allin one tempo, and immediately return into the aforesaidguards.

9.4 Sword in porta di ferro stretta; dagger in coda lunga alta



Pass forward with your left foot, andparry with your dagger in guardia ditesta, and

• thrust a stoccata to his chest all in one tempo; or• when parrying, give him a riverso to the thigh.• Once you’ve parried with your dagger, you can also turn

a mandritto to his leg,

having done which, you’ll return your left foot back a pace,with your weapons adjoined together, and you’ll put your-self back into the aforementioned guards.



Draw your right foot near to your leftone,

• turning a tramazzone to his sword arm, or• thrust the point into his face,

and having done so, return into your guards.

38




Immediately pass forward with yourleft foot, and go with your dagger intoguardia di testa to protect yourself, and

in that tempo you’ll

• give him a riverso to his leg, or• a thrust to his chest.

While stepping forward with your leftfoot, you can hit it with the true edge ofyour sword, accompanied by your dag-ger,

thrusting the point into his face.

Defend against it with a riverso sgual-imbro,

promptly stepping forward with your right foot, and woundhim in the flank with an overhand thrust, immediately rais-ing the dagger for defense of your head;having done which you’ll reassume the guards employed.



Parry it with your sword with a riversoridoppio, then

immediately advance with your right foot, throwing an im-broccata to his face.

Draw back your leg, andturn a dritto tramazzone to his sword hand in that tempo,and having done so return into the guards that are beingdiscussed.



Pass toward his right side with your leftfoot, and in this passage you’ll hit it in-ward with the true edge of your dagger,

turning a riverso to his head, so that your right foot followsbehind your left one.

Parry it with the false edge of yoursword, and

turn a riverso to his leg, making your dagger guard yourhead.

Parry it with the true edge of yoursword, and

immediately step forward with your right foot and thrustthe point into his chest,having done which you’ll adopt the said guards.

9.4.6 Against a stoccata to your face


Send your left foot forward, and defendagainst it with the true edge of yourdagger, pushing it toward your enemy’sleft side, and

in the same tempo you’ll turn a riverso to his head.

Glide your right foot forward, and gowith your sword in the company of yourdagger into guardia d’entrare,

thrusting the point into his face in that instant,and having done this, restore yourself to the previouslynamed guards

39


9.5 Sword in cinghiale porta di ferro stretta; dagger in guardiadi testa



Pass forward with your right foot andparry with the dagger, and

• thrust a punta riversa into his chest all in one tempo, or• wound him in the head with an underhand riverso.

Parry with your weapons adjoined,passing forward immediately with your right foot, thrustingan imbroccata to his face.

Pass forward with your right foot andparry the said blow with the true edgeof your sword, and

wound him in the flank with an overhand thrust,having done which, you’ll return back a pace with your rightfoot together with a dritto tramazzone, and fix yourself inthe said guards.



Draw back your left foot somewhat,thrust your point into his face in that tempo, and swiftlyreturn into your guards.



Parry it with your sword in guardiad’entrare, accompanied by your dagger

passing forward with your right foot in that instant andthrusting your point into his face.

Step forward with your right foot, anddefend against it with a riverso sgual-imbro, and then

• wound him with an imbroccata to the chest, or• turn a riverso to his head or leg,

promptly returning back with your right foot with yourweapons adjoined in guardia di testa, and having done sosettle yourself into the aforesaid guards.



Glide forward with your right foot andprotect yourself with a riverso ridoppio,and

throw a thrust to his face.

Draw your left leg back a pace, andturn a tramazzone to his sword arm in the same tempo,having done which, you’ll settle yourself in to the aforesaidguards.

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9.5.5 Against a imbroccata to your chest


Hit it toward his left side with the trueedge of your dagger without taking anystep,

turning an overhand riverso all in one tempo, making yourright foot follow behind your left one.

Parry it with the false edge of yoursword, and

step forward with your right foot in the same tempo, turn-ing a riverso to his leg,and having done so, return your right foot back a pace to-gether with a thrust accompanied by your dagger, withwhich you’ll return yourself into the guards whereof wespeak.



Ward that with the true edge of yoursword,

stepping forward with your right foot,

• thrusting the point into his chest, or• immediately upon having parried, you’ll turn a riverso

to his leg.

During the taking of a step you could,moreover, place the forte of the trueedge of your sword along with that ofyour dagger upon the said stoccata and

immediately thrust your point into his face all in one tempo.

Parry it with your dagger andcut his thigh with a riverso,and immediately return into the guards employed.

9.6 Sword in guardia d’alicorno (right foot forward); dagger incinghiale porta di ferro



Pass forward with your left foot andraise your dagger into guardia di testa,with which you’ll protect yourself fromit.

But in the same tempo,

• turn a mandritto to his head or leg, or• thrust the point into his chest.

While he throws the said mandritto,you can also step forward with yourright foot and

give him a mandritto sgualimbro to his sword hand,but having done so, you’ll put yourself back into the afore-said guards.



Draw your right foot back a pace,

• thrusting an imbroccata into his face, or• turn a mandritto to his right arm,

having done which, you’ll restore yourself into your guards.

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9.6.3 Against a riverso to the head


Draw your left foot behind your rightone, and protect yourself in that tempowith your sword in the same guard,then

immediately step forward with your right foot, thrustingthe point into his chest and making your dagger lie in de-fense of your head.

Step forward with your left foot andparry it with your dagger, and

wound him with a mandritto to the leg,having done which, you’ll return into the guards that we’respeaking of.



Draw your right foot back,

• throwing an imbroccata to his face, or• turn a mandritto to his sword hand,

and having done so, return into the said guards in use.



Parry it with a mezzo mandritto, and

immediately cut him with a riverso tondo, making your leftfoot push your right one forward,after which you’ll restore yourself similarly to the saidguards.



Hit it toward his right side with yourdagger, drawing your left foot near yourright one in that tempo, and

immediately advance with your right foot,

• thrusting the point into his flank or• turning a mandritto to his leg.

Parry it with a mezzo mandritto sgual-imbro, and

wound him in the chest with a punta riversa,and after this you’ll return to the aforesaid guards.

9.7 Sword in guardia d’alicorno (left foot forward); dagger inporta di ferro alta

9.7.1 Against a mandritto at your head


Knock it outwards with your daggerand immediately pass forward withyour right foot, and

• thrust an imbroccata into his chest or• give him a mandritto to the head or leg,

and having done so, return into the aforesaid guards.



Parry it with the dagger, lowering itspoint toward the ground, then

immediately advance with your right foot, sticking an over-hand thrust into his face,and then restore yourself to the same guards.

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9.7.3 Against an imbroccata to your face


Hit it outwards with your dagger andstep toward his left side with your rightfoot in that tempo, and

• wound him with a similar thrust to the flank, makingyour left foot follow your right one; or

• in the passing of your foot, you can turn a mandritto tohis leg instead.

Hit it toward his left side with your dag-ger and

• thrust your point into his face in that tempo, or• turn an overhand riverso to his head so that your right

foot follows behind your left one,

and this accomplished, you’ll return back with your foottogether with a riverso from beneath upwards, which willfix you in the aforesaid guards.



Parry that outwards with the flat ofyour dagger and advance with yourright foot,

• thrusting an imbroccata to his chest or• giving him a mandritto to his head or leg.

As you see that thrust coming, you canalso pass toward the enemy’s left sidewith your right foot and

throw an overhand thrust to his flank;and for your defense return your right foot back a paceaccompanied by a stoccata under your dagger, and settleyourself into the guards we’re discussing.

9.8 All together

1. Sword in coda lunga stretta and dagger in cinghiale porta di ferro [alta] against a puntariversa to your face in order to give you a riverso to your leg,

(1) Defend yourself from the said thrust with the false edge of your sword.

(2) But when he turns the riverso, you’ll immediately draw your right foot back a pace and turn adritto tramazzone in that tempo to his sword arm, which will fall into cinghiale porta di ferro,and you’ll go into guardia di testa with your dagger.

2. Against a stoccata to your flank in order to give you a mandritto to your head

(1) Parry it with the true edge of your sword,

(2) but during the turning of the mandritto toward you, you’ll swiftly direct your right foot forward,and go into guard [not specified] with your sword all in one tempo, thrusting the point into hisface,

(3) followed by a dritto tramazzone with which you’ll fix yourself in porta di ferro stretta withyour dagger in coda lunga alta.

3. Against feinting a riverso to your head for the purpose of wounding you with a similar one to the leg,

(1) To the first one you’ll raise your sword into guardia di testa,

(2) but in the turning of the second one, you’ll draw your right foot back a pace and in one sametempo give him a riverso to his right arm, and thereby your sword will rest in coda lunga altaand your dagger in porta di ferro.

4. Against a mandritto to your head or leg

To the head:

(1) Go into guardia di testa with your dagger in order to defend yourself,

(2) stepping promptly forward with your right foot, thrusting a stoccata to his chest.

To the leg:

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(1) Parry with the true edge of your dagger, lowering its point toward the ground, and

(2) you’ll pass forward with your right foot in that instant, giving him a mandritto to the head orthe leg which will be

(3) followed by a riverso ridoppio, and with it you’ll thereby go into guardia d’alicorno (rightfoot forward), and your dagger will rest in cinghiale porta di ferro.

5. Against a punta riversa to the face in order to wound you with a mandritto to the leg

(1) Assure yourself against the said thrust with your dagger without moving your feet.

(2) And if he indeed wishes to wound you with the mandritto, you’ll immediately draw your right footback a pace, accompanied by a riverso from beneath upward, with which you’ll restore yourself toguardia d’alicorno with the left foot forward, and with your dagger in porta di ferroalta.

6. Against a mandritto, or a riverso, or a thrust

(1) parry with your dagger and

(2) immediately advance toward his left side with your right foot and thrust the point into his chest.

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Chapter 10

Provocation

Provocations that are done with the unaccompanied sword are more difficult, because one has to performtwo effects with it, namely defense and offense. But when you have a dagger, you can parry with it andattack with the sword.

10.1 Both with swords coda lunga stretta and daggers in cinghialeporta di ferro

Provocation Counter

Deliver a falso and mandritto on his swordImmediately step forward toward his left side with yourright foot and turn a riverso tramazzone in that step,with which you’ll return into your guards.

Turn a tramazzone to his right hand whichwill halt in porta di ferro, and end withyour dagger in coda lunga alta.

Draw back your hands and body somewhat, puttingyour weight on your back foot, letting his blow missyou, and immediately thrust your point into his face.

Throw a falso to his hands from beneathupwards, without taking any steps

Drive it toward the ground with the true edge of yoursword, swiftly slicing him in the face with a riverso.

1. Extend a false thrust to his face [to hisleft temple] from under your dagger,

2. followed by a mandritto to the leg, keep-ing your face well defended by your dag-ger.

1. Parry the said thrust with your dagger.

2. • Go forward with your right foot, hitting it withthe false edge of your sword, accompanied by yourdagger, making its [your sword’s] point go towardsthe ground, and immediately slice him in the thighwith a riverso, or

• draw back your right foot a pace and give him amezzo mandritto to his sword hand in that tempo.

1. Step forward toward his right side withyour left foot, thrusting a punta riversato his face in that tempo, and

2. as he raises his sword to defend againstit, you’ll immediately go forward withyour right foot, turning a mandrittotondo to his head;

2) or, once you’ve extended the said thrust,turn a riverso to his leg.

2) [The counter to the mandritto tondo to the head ap-pears to have been omitted] If after the aforesaid thrusthe turns a riverso to your leg,

• you can parry it with a riverso ridoppio, thrusting animbroccata to his chest, or

• draw back your right foot, hitting his right arm witha riverso sgualimbro all in one tempo.

45

Chapter 10. Provocation

1. Throw a stoccata to his chest betweenhis sword and dagger.

And if perchance he knocks it inward withhis dagger and passes forward with his leftfoot, turning a riverso to your head,

2. you’ll immediately pass forward withyour left foot and proceed to parry itwith your sword, accompanied by yourdagger in guardia d’entrare, thrustingthe point into his face all in one tempo.

1. Immediately turn a riverso tramazzone to his swordarm, stepping diagonally with your right foot in thattempo, making your left foot follow behind it, andyour sword will lie in coda lunga stretta and dagger incinghiale porta di ferro.

Press him by pulling your left foot nearyour right one and then immediately ad-vancing forward with the same right one,so that finding himself at such a strait he’lleither throw a blow or retreat backwards.

Direct your right foot along the diagonal, turning yourbody behind your right side and

• turning a riverso tramazzone to his arms in the sametempo, or

• giving him a mezzo mandritto to the hands instead.

10.2 Pressing without an accompanied weapon

This manner of pressing the enemy also be done with the unaccompanied sword, but it needs to be donewith great judgment, owing to it being less safe, which isn’t the case when done with the accompaniedsword.

10.3 Both with with swords in coda lunga alta and daggers inporta di ferro alta

Provocation Counter

1. Provoke him with a falso dritto or twodirected toward his dagger hand, andthen

2. advance with your right foot all in onetempo and thrust a punta riversa intohis chest from outside his right side,

3. followed by a riverso to the leg.

1. Raise your dagger into guardia di testa and you’llput your sword into cinghiale porta di ferro, almostwithout moving your feet.

2. Advance with your right foot, and in the same tempoyou’ll parry with the true edge of your sword, accom-panied by your dagger, thrusting your point into hischest.

[perhaps 1.] In addition, without moving your feet youcould turn a dritto tramazzone to his sword hand.

1. Advance with your right foot, throwinga mezzo mandritto to his dagger hand

2. followed by a riverso sgualimbro,

1. Parry it with your dagger.2. During the turning of the riverso, you’ll immediately

step toward your enemy’s left side with your rightfoot, turning a riverso tramazzone to his right arm inthat tempo.

During the advance [of your right foot], ex-tend an overhand thrust with which you’llfix yourself in porta di ferro stretta withyour dagger in coda lunga alta.

Parry it with your dagger, advancing somewhat towardhis right side with your left foot, and you’ll turn a riversoto his head all in one tempo, and your sword will returninto coda lunga alta.

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1. During the advance of your right footyou can extend a false thrust to his face,

2. followed by a mandritto to his leg;

or, after you’ve extended the said thrust,

2) you can make a pretense of turning amandritto to his head,

3) but instead turn a riverso to his

a. headb. or leg.

[The riverso to the head isn’t in the originaltext, but mentioned in the counter]

1. Defend yourself from the said thrust with your dag-ger, and

2. in the turning of the mandritto, you’ll immediatelypass forward toward his left side with your right foot,but during this step you’ll stick an overhand thrustinto his flank.

2) Raise your dagger into guardia di testa to the man-dritto.

3) a. Pass forward with your right foot, turning the trueedge of your sword in the company of your daggeragainst the said blow, immediately thrusting yourpoint into his face.

b. Parry it with a riverso ridoppio, then immediatelyadvance forward somewhat and wound him withan imbroccata to the chest.

10.4 Both with swords in porta di ferro stretta and daggers incoda lunga alta

Provocation Counter

Hit the false edge of your sword againstthat of the enemy and slice him in the facewith a mandritto, making your left footpush the right one forward.

As he hits your sword with the false edge, you’ll drawback your right foot, turning a mandritto to his swordhand all in one tempo, which will fall into cinghiale portadi ferro, and your dagger will go into guardia di testa.

1. Feint a dritto tramazzone to his head,2. nonetheless turning a riverso to his

thigh.

1. During his feint of the tramazzone, you’ll raise yourdagger into guardia di testa, and

2. as he turns the riverso to your thigh, you’ll parry itwith the true edge of your sword, lowering its pointtoward the ground, and immediately push an over-hand thrust into his chest.

1. Thrust a punta riversa to his face, pass-ing forward with your left foot and

2. a. immediately advancing with yourright one, turn a riverso to his leg,

b. or wound him in the flank with anoverhand thrust.

[No counter to this provocation’s initial punta riversa tothe face is described]2. You’ll draw your right foot back a pace, turning ariverso sgualimbro to his sword arm in that tempo.

1. Throw the said thrust [punta riversa]with a step of your right foot,

2. and immediately pass forward with yourleft one and beat his sword outwards un-der yours with your dagger, and givehim a mandritto to the leg all in onetempo.

1. Parry it with your sword in guardia d’entrare;2. but in the step forward that he takes with his left

foot in order to beat with the dagger, in defense of ityou’ll draw your right foot back a pace, together witha riverso with which you’ll go into coda lunga alta.

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Extend two punte riverse;

1. the first is done passing toward his rightside with your left foot, extending it to-ward his face,

2. and as he raises his sword in order todefend against it, you’ll immediately ad-vance with your right foot and beat hissword outward with your dagger, stick-ing the second one into his chest.

1. Defend against the first one with the false edge ofyour sword.

2. As he steps with his right foot in order to throw thesecond one, you’ll immediately step toward his rightside with your left foot, and hit him with your dag-ger, but in the same instant you’ll turn an overhandriverso to his head, making your right foot follow be-hind your left one.

10.5 Both with swords in cinghiale porta di ferro and daggersin guardia di testa

Provocation Counter

1. Extend a thrust [likely punta riversa]to his face, stepping forward with yourright foot,

2. and follow it with a riverso to his leg.

1. Hit that with your dagger.2. Parry it with a riverso ridoppio, promptly stepping

forward with your right foot, and in that tempo you’llthrust an imbroccata to his face.

1. Once you’ve extended the said thrust [asthe former one],

2. you can turn two mandritti to his head,making the last one fall into porta diferro alta.

1. Parry it with your sword,2. and when he steps in order to wound you, you’ll hit

his sword arm with a mezzo mandritto, casting yourleft foot behind your right one.

Step forward with your right foot, and im-mediately turn a dritto tramazzone to hissword arm

Immediately step forward with your right foot, andparry with your sword in guardia d’entrare in the com-pany of your dagger, extending a thrust to his chest allin one tempo.

1. In the step with the said foot [right-footpassing], you can make a sign of throw-ing a punta riversa to his face,

2. but nonetheless make a half turn of yourfist, immediately thrusting an imbroc-cata into his flank.

1. Hit that with the false edge of your sword.2. Parry that with a riverso ridoppio, stepping forward

with your right foot in that instant, wounding him inthe face with an overhand thrust.

10.6 Both with swords in guardia d’alicorno with right feet for-ward and daggers in cinghiale porta di ferro

Provocation Counter

1. Thrust an imbroccata to the daggerhand and

2. follow it with a dritto tramazzone, withwhich you’ll fix yourself in porta di ferrostretta with your dagger in coda lungaalta

1. When he thrusts the imbroccata, you’ll pass towardthe enemy’s right side with your left foot, and in thispassage you’ll stretch out your left arm somewhat andbeat it inward with your dagger, but in the same tempoyou’ll turn an overhand riverso to his head, with whichyou’ll fix yourself in coda lunga alta, and your dagger inporta di ferro.

While thrusting the said imbroccata, you’lldraw back your right foot a pace, and yoursword will rest in cinghiale porta di ferro,and your dagger in guardia di testa.

Feint to respond to it, and when he reacts to the feint,you can wound him wherever turns out to be the easiest.

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1. Make a gesture of extending the over-hand thrust,

2. but instead turn a mandritto to his lefthand, which will fall into porta di ferrolarga, raising your dagger in defense ofyour head.

1. In his pretense of thrusting the imbroccata, you won’tmove yourself,

2. but when he turns the mandritto, you’ll immediatelycast your right foot back a pace, and in one tempoyou’ll turn a mandritto sgualimbro to his sword hand,which will fall into cinghiale porta di ferro, and yourdagger will go into guardia di testa.

These provocations are nothing other than changes of guards, because in these two guards of alicorno[meaning the guards of the sword and of the dagger, not the two guards of alicorno with right and leftfoot forward], nothing else can be done in order to provoke the enemy than pressing him, making feints,or making changes of guards, so that he’ll have reason to move himself or respond.

10.7 Both with swords in guardia d’alicorno with left feet for-ward and daggers in porta di ferro alta

Provocation Counter

1. Draw your right foot near your left one,then glide forward with the same one,

so that when your enemy finds himself sopressed, he’ll either throw a blow or retirebackwards. But I want us to address thecase first that he either throws a cut or athrust at your upper body:

2. you will protect yourself with your dag-ger, and step forward in that tempo withyour right foot, thrusting an imbroccatato his chest,

2) or as your foot takes the step, you canmake a gesture of thrusting your pointto his face,

3) and all in one tempo you’ll turn a man-dritto to his leg, which will fall intoporta di ferro, and your dagger will de-fend your head.

1. Immediately direct your right foot toward his leftside, thrusting the point of your sword into his lefthand, with which you’ll fix yourself in porta di ferrostretta, and your dagger in guardia di testa.

2. Immediately step toward your enemy’s right side withyour left foot, and in one same tempo you’ll hit thesaid imbroccata with the true edge of your dagger,turning an overhand riverso to his head, which willfall into coda lunga alta, and your dagger into portadi ferro alta.

2) If he feints to thrust the imbroccata, you won’t makea motion,

3) but as he turns the mandritto to your leg, you’ll drawyour left foot back a pace, hitting the said hand witha mezzo mandritto in that instant.

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Part III

Sword and cape

50

Chapter 11

Basics

11.1 How to embrace the cape

When you have your cape about you, you’ll let it fall down from your right shoulder as far as the middleof your left arm, and then you’ll turn your left hand outwards, coiling the said cape upon your arm,putting yourself into cinghiale porta di ferro with it, and in coda lunga stretta with your sword.

11.2 Stepping in the guards and how to parry with the cape

Insofar as concerns stepping in the guards, you’ll follow that same rule that you followed with the swordand dagger, since this stepping, along with the placement of yourself in the guards is all one sameprocedure, except that in parrying there is a difference, because the cape can be cut and pierced, whichthe dagger cannot.

Therefore I want to advise you that when you happen to parry either mandritti or riversi with yourcape in defense of your upper body, you are to parry your enemy’s sword below its midpoint, before theblow has gained force. But when you happen to parry thrusts with the cape, you’ll beat them awayeither to the right or the left side with a turning of your body as you understand, so that you’ll renderyourself safer thereby.

51

Chapter 12

Defense and counter from each guard

12.1 Sword in coda lunga stretta; cape in cinghiale porta diferro



Step forward with your left foot and de-fend yourself from that with your cape,

• thrusting a punta riversa to his chest in that instant,followed by a riverso to his thigh; or,

• while you protect yourself with your cape, you can givehim a mandritto to the leg,

and for your defense you’ll draw back your left foot a pace,extending a thrust to his face in the company of your cape,and having done so, you’ll settle yourself into the said guard

Parry the said blow with your sword inguardia di testa accompanied by yourcape, withdrawing your left foot nearyour right one in that tempo,

then immediately go forward with your right one, and turna mandritto to

• his head or• his leg,and having done so, return into the aforesaid guard.



draw back your right foot somewhat,wounding him with a riverso sgualimbro to his sword arm,and thrusting the point to his face in the company of thecape.

Defend yourself from the said blow withthe false edge of your sword

Cut him with a riverso to his thigh, making your cape pro-tect your head,and then immediately returning into the guard namedabove.



Pass toward his left side with your leftfoot and parry with the cape,

• in the same tempo thrust a stoccata to his chest or• give him a riverso to the leg

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In your step with your left foot youcould go into guardia d’entrare withyour sword, accompanying it with yourcape

thrust your point into his face all in one tempo,having done which you’ll restore yourself into the sameaforesaid guard.



Hit it with the true edge of your swordimmediately advance with your right foot and thrust animbroccata

Draw back your right foot

• wounding him with a dritto tramazzone to his swordarm, or

• giving him a thrust to the face,

and having done so restore yourself into the same guard.



Parry it with a mezzo mandritto sgual-imbro,

• turning a riverso to his head in response, or• a punta riversa to his chest,

making your left foot follow behind your right one.

Parry it with the false edge of yoursword

immediately cut him with a riverso to the leg, so that yourleft foot pushes your right one forward.

Step toward his right side with your leftfoot and beat it inward with your cape,

turning an overhand riverso to his head in that tempo,having done which you’ll arrange yourself into the guardwhereof we speak.



Beat it outwards with your capeimmediately direct your right foot forward, extending athrust to his flank all in one tempo

Parry it with the true edge of yoursword

turn a riverso to his head, together with a mandritto to theleg

By lowering the point of your swordwell toward the ground, accompanyingit with the cape, and then making itturn upwards in the manner of a wheel,you’ll repel the said stoccata

all in one tempo you’ll advance with your left foot, stickingyour point in his face,and having done so you’ll return into the guard employed

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12.2 Sword in coda lunga alta; cape in porta di ferro alta



Glide forward with your left foot andparry it with your cape, and

immediately advance with your right foot, and

• thrust a stoccata to his flank, or• give him a mandritto to his sword arm instead,

following it with a riverso, and having done so you’ll returninto the said guard.

Step forward with your right foot andparry with your sword in guardia ditesta, and

immediately turn a mandritto to his head or leg

In the step [right foot passing] youcan go into guardia di faccia with yoursword accompanied by your cape, and

thrust the point into his face in that tempo,and having done so draw back your right foot a pace to-gether with a mandritto which will go into cinghiale portadi ferro; then you’ll turn your hand and body to find your-self in coda lunga alta.



Step forward toward his right side withyour right foot, and ward against thesaid blow with the false edge of yoursword, but

• you’ll slice his thigh with a riverso without delay, or• turn a dritto tramazzone to his head instead, which will

fall into porta di ferro, with your cape in guardia di testa,

and you’ll promptly draw back your right foot, followed bya thrust with which you’ll return into the aforesaid guard.

Draw back your left leg and

thrust your point into his face in that tempo in the companyof your cape,having done which, you’ll settle yourself into the aforesaidguard.



Pass forward with your right foot andprotect yourself with your cape,

but in the same tempo you’ll

• throw a punta riversa to his chest, or• cut him in the leg with a riverso.

take a step to parry with your sword inguardia di testa, and

• thrust an imbroccata or• turn a mandritto to his thigh,

and having done so return into the same guard namedabove.



Step forward with your right foot, butas you step you’ll hit it with a riversoridoppio, and

in response you’ll throw an overhand thrust to his face.

Go toward his left side with your rightfoot instead, and

in that tempo you’ll turn a riverso to his head followedby another riverso, with which you’ll return into the guardwhereof we speak.

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Passing forward with your right footyou’ll hit that with the true edge of yoursword, and

wound him in the chest with a punta riversa, making yourleft foot follow behind your right one.

Knock it inward with your cape,stepping diagonally somewhat with your left foot, turningan overhand riverso to his head in that instant, with whichyou’ll return into coda lunga alta.



Knock that outwards with your cape,and

in that tempo you’ll advance with your right foot and throwa thrust to his face followed by a mandritto to his leg.

In the step forward with your foot, youcan go into guardia di faccia with yoursword and

• thrust the point into his face; or,• once you’ve parried in guardia di faccia, you can direct

your left foot toward his right side, turning a riverso tohis leg in that tempo, in such a fashion that your rightfoot follows behind your left one,

and for your defense you’ll thrust a stoccata to his face inthe company of your cape, with which you’ll settle into theguard employed.

12.3 Sword in porta di ferro stretta; cape in coda lunga alta

12.3.1 Against a mandritto to your upper body


Step forward with your left foot, block-ing the said blow with your cape, and

• thrust a punta riversa to his chest in the same tempofollowed by a riverso to the thigh; or

• during the parry you’ll turn a mandritto to his leg andimmediately draw back your foot with a thrust accom-panied by your cape,having done which, lowering your hand, you’ll return intothe aforesaid guard with your sword.

• While you defend yourself with your cape, you couldthrow a stoccata to his flank.

Parry the said mandritto with yoursword in guardia di faccia in the com-pany of your cape,

thrusting the point to his face and following it with a drittotramazzone with which you’ll go into porta di ferro stretta.



Draw your right foot near your left one,sticking the point in his face, and returning immediatelyinto the aforesaid guard.

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Go forward with your left foot and pro-tect yourself with your cape,

but in that tempo you’ll

• give him a riverso to the leg, or• thrust your point into his chest.

In the step you take with your foot, youcan parry the said blow with your swordin guardia d’entrare accompanied byyour cape,

thrusting a stoccata to his face.

Parry it with a riverso sgualimbro, andthen

• wound him with an imbroccata to the flank, or• turn a riverso to his head,

making your left foot push your right one forward,

and immediately place yourself in the aforesaid guard.



Parry it with a riverso ridoppio and thrust an imbroccata to his chest,

or draw back your right foot, andthrow the said imbroccata to his face, and having done soyou’ll return into porta di ferro stretta.



Pass toward his right side with your leftfoot, knocking it inward with your cape,and

in that tempo you’ll turn an overhand riverso to his headin such a way that your right foot follows behind your leftone;then you’ll immediately return backward a pace with yourleft foot, together with a mandritto sgualimbro which willreturn into the aforesaid guard.

In the step of your foot you can also hitit with the true edge of your sword,

advance with your right foot, and wound him with an im-broccata to the flank which will end in porta di ferro.

12.3.6 Against a stoccata to you in the chest


Glide forward with your right foot,placing the forte of the true edge of yoursword together with your cape uponthat of your enemy, and

thrust the point into his chest in that tempo, making yourleft foot be the follower of your right one, and then with adritto tramazzone you’ll return into the aforesaid guard.

Hit it toward your enemy’s left sidewith your cape, stepping forward withyour left foot in the same tempo, and

• giving him a riverso to the leg or• a punta riversa to the chest;

and this done, return into the guard whereof we speak.

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12.4 Sword in cinghiale porta di ferro stretta; cape in guardiadi testa



step forward with your right foot anddefend yourself with your cape,

but all in one tempo you’ll

• wound him with a riverso to the thigh or• a thrust to the chest,

having done which you’ll return your right foot back a pace,turning a mandritto to your enemy’s hand, and this will fixyou into the said guard and your cape will return to thedefense of your head.

In the advance of your foot you can alsoparry with your sword in guardia di fac-cia in the company of your cape, and

thrust the point into his face and immediately draw backyour foot a pace, accompanying it with a dritto tramazzonewhich will end in the guard named above.



Draw back your left foot andgive him what ever seems most opportune to you in thattempo, and having done so you’ll return into your guard.



Advance toward his left side with yourright foot, parrying the said blow withyour cape,

and in that tempo you’ll

• give him a riverso to the leg or• a punta riversa to the chest,

and for your defense you’ll draw your right foot back a paceand accompany it with a mandritto with which you’ll returninto the guard whereof we speak.

Hit it with a riverso sgualimbro in theadvance of your foot and

wound him with an imbroccata to the flank,

or go into guardia d’entrare with yoursword in the company of your cape,

thrusting your point into his face,then immediately return back together with a mandrittotramazzone, with which you’ll adopt the indicated guard.



Defend yourself with a riverso ridoppio,

stepping with your right foot and

• turning a riverso to his head or• thrusting the point into his face,

and having done so restore yourself into the aforesaid guard.

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Hit it with the false edge of your sword,promptly passing forward with yourright foot,

and in that tempo you’ll turn a riverso to his thigh, makingyour cape defend your head;

or you’ll parry it with the true edge ofyour sword,

thrusting the point into his flank.

Hit it toward his left side with your capeand

turn an overhand riverso to his head, making your rightfoot follow behind your left one,and for your defense you’ll turn a mandritto sgualimbrowhich will end in cinghiale porta di ferro.



Pass forward with your right foot andparry it with the true edge of yoursword in the company of your cape, and

thrust the point into his chest in that tempo.

Hit it with the cape and turn a riverso to his sword arm,

or parry it with a riverso sgualimbro in-stead,

stepping forward and

• giving him a riverso to the head or• throwing an overhand thrust to his face.

In the step of your foot you could parryit with your false edge, and

immediately turn your fist downward and thrust your pointinto his face,and having done so return into cinghiale porta di ferro withyour sword and into guardia di testa with your cape.

12.5 Sword in guardia d’alicorno (right foot forward); cape incinghiale porta di ferro alta



Step forward with your left foot andprotect yourself with your cape inguardia di testa,

but you’ll immediately advance with your right foot and

• thrust an imbroccata to his chest, or• turn a mandritto to his

– head or– leg.

Turn a mandritto to your enemy’s arm.

Parry with your sword in guardia ditesta accompanied by your cape, and

immediately wound him however seems readiest,and having done so you’ll place yourself back in the guardnamed above.



Draw your right foot near your left one,

and in that tempo you’ll

• turn a mandritto to his sword arm or• thrust the point into his face,

promptly returning into the aforesaid guard.

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Pass forward with your left foot andparry the said blow in guardia d’entrarein the company of your cape,

thrusting the point into his face;

or in the step forward you can parrywith your cape,

giving him a mandritto to the leg in that tempo,and having done so, you’ll settle yourself into the guardwhereof we speak.



Draw back your right foot,throwing an imbroccata to his face in the same tempo, andswiftly return into guardia d’alicorno.



Draw your left foot near your right oneand parry it with a mezzo mandrittosgualimbro,

then immediately advance with your right foot and

• slice his head with a riverso, or• throw a thrust to his chest.

Pass toward his right side with your leftfoot and hit the said thrust with yourcape,

turning an overhand riverso to his head,having done which you’ll go into the aforesaid guard.

12.5.6 Against a stoccata to you in the chest


Beat it outwards with the cape, draw-ing your left foot near your right one,

then immediately advance with your right one,

• thrusting an imbroccata to the face, or• turning a mandritto to his leg instead.

12.6 Sword in guardia d’alicorno (left foot forward); cape inporta di ferro alta



Protect yourself with your cape,

then immediately pass forward with your right foot,

• thrusting your point into his chest or• turning a mandritto to his leg as you step, instead;

and having done so you’ll return back a pace with your rightfoot together with a riverso ridoppio, with which you’ll fixyourself in the said guard.

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Pass toward his left side with your rightfoot and

• thrust an imbroccata to his face in that tempo or• give him a riverso to his sword hand, so that that your

left foot follows behind your right one,

having done which you’ll return into the aforesaid guard.



Parry with your cape,

stepping forward promptly with your right foot and

• thrusting the point into his flank or• turning a mandritto to

– his head or– leg

, and immediately place yourself back into the aforesaidguard.



Draw back your left foot and speedilyadvance with your right one,

throwing an overhand thrust to his face,having done which you’ll restore yourself into the guardnamed above.



Hit it toward his left side with your capeand

• turn an overhand riverso to his head in the same tempo,or

• thrust the point into his face,

making your right foot push your left one forward.

In the step with your right foot you canalso parry with a mandritto sgualimbroand

• cut him with a riverso tondo in the same tempo, or• thrust a punta riversa to his chest,

and having done so return into the aforesaid guard.



Hit it outwards with your cape and

pass forward with your right foot in that tempo,

• thrusting the point into his face, or• turn a mandritto to his leg instead,

having done which you’ll return into the guard whereof wespeak.

12.7 All together, with defense to feints

1. Sword in coda lunga alta [should be stretta] and cape in cinghiale porta di ferro againsttwo punte riverse, one at your face with his left foot forward, and the other to your chest with hisright foot forward

(1) Parry the first one with your false edge, and

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(2) as he throws the second one, you’ll pass immediately toward his right side with your left foot, andbeat that one inward with your cape,

(3) turning an overhand riverso to his head all in one tempo, with which you’ll restore yourself intocoda lunga alta [and cape in porta di ferro alta].

2. Against a stoccata to your face in order to give you a mandritto to the leg

(1) As he throws the thrust you’ll defend yourself from that with your cape;

(2) but in the turning of a mandritto at you, you’ll draw your left foot back, wounding your enemy’shand with a mezzo mandritto with which you’ll fix yourself in porta di ferro stretta, and withyour cape in coda lunga alta.

3. Against feinting to thrust a punta riversa to your face in order to give you a riverso to the leg

(1) you won’t move in response to the feint,

(2) but as he turns the riverso, you’ll immediately draw back your right foot a pace, turning a drittotramazzone to his sword arm in that tempo, with which you’ll go into cinghiale porta di ferrowith your cape in guardia di testa.

4. (1) if the enemy makes a show of giving you a dritto tramazzone to the head, you’ll raise your swordinto guardia di testa,

(2) and if he thrusts an imbroccata to your flank as you raise it, you’ll hit it with your cape and turnan overhand riverso to his head in the same tempo, making your right foot follow behind your leftone.

(3) And having done so, with a half turn upwards of your fist, you’ll rest with your left foot forwardwith your sword in guardia d’alicorno, and your cape in porta di ferro alta.

5. Against a mandritto sgualimbro to your upper body

(1) Protect against that with your cape,

(2) and rapidly pass forward with your right foot, but in that passage you’ll throw an overhand thrustto his chest,

(3) followed by a riverso ridoppio, with which you’ll fix yourself in guardia d’alicorno with yourright foot forward, and with your cape in cinghiale porta di ferro.

6. Against a thrust to your face, or a mandritto tondo to your head

(1) step forward with your left foot and hit that with your cape, but in the same tempo you’ll turn amandritto to his leg,

(2) and for your defense you’ll restore your left foot back a pace, accompanied with a riverso tramazzonewith which you’ll return into coda lunga stretta [and cape in cinghiale porta di ferro alta].

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Chapter 13

Provocation

13.1 If your enemy doesn’t respond to provocations

Resume provoking him again, or press him as I told you, thereby making him either throw a blow orretire back.

13.2 Both with swords in coda lunga stretta and capes in cinghialeporta di ferro alta

Provocation Counter

1. Pass forward with your left foot and thrusta punta riversa to the face;

2. but if perchance he raises his sword in or-der to protect himself, in the raising you’llimmediately direct your right foot forwardand hit that upward with your cape, andin the same tempo you’ll thrust a puntariversa to the chest,

2) or cut him in the leg with a riverso instead.

1. Parry that with your true edge.2. Immediately going toward his left side with your left

foot you’ll hit it with your cape, and in the sametempo you’ll turn an overhand riverso to his head.

1) Hit that with your false edge.2) Draw your right foot behind your left one, giving him

a riverso sgualimbro to the sword arm in that tempo.

1. During the advance of his [your] right footyou can also make a pretense of giving hima mandritto to the head,

2. but turn a riverso to his thigh [or head, asis described in the counter.].

1. Without stepping you’ll wound him in the sword handwith a mezzo mandritto.

2. Go into guardia d’entrare with your sword, thrust-ing your point into his face. [no counter to the legmentioned.]

Pass forward with your left foot and pro-voke him with a dritto tramazzone to hissword hand, with which you’ll fix yourself incinghiale porta di ferro, and with your cape inguardia di testa.

Immediately go into porta di ferro with your sword inorder to render yourself secure.

You can also provoke him if you throw eitherthrusts or mezzi riversi to his cape hand.

If he throws the thrust to your cape hand, you’ll lift upyour left arm somewhat, turning your body behind yourright side, wounding your enemy’s hand with a mezzomandritto in that tempo.

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1. Make a gesture of thrusting a stoccata tohis face between his sword and his cape,and

2. if he happens to move his sword in order todefend himself, you’ll immediately pass for-ward with your left foot, and in that pas-sage you’ll toss the cape on his right armand

3. in the same tempo

a. turn an overhand riverso to his head, orb. thrust a punta riversa to his flank.

1. Knock that down with your true edge.2. In the step that he takes with his left foot in order to

enfold you in his cape or cast it into your face, you’llpromptly draw your right foot back a pace, slicinghim in the leg with a riverso in that tempo, makingyour cape protect your head.

13.3 Two other methods to wrap and cast the cape

13.3.1 First

Having your cape about you, you’ll let it fall down from your right shoulder, beating it backward withyour arm, and in the same tempo you’ll stick the thumb of your left hand on the other part of the cape,that’s on your left shoulder, making the pad of your thumb be turned upwards. And you’ll put yourselfinto porta di ferro with your sword.

And this is one way to avail yourself of it for casting it at your enemy without embracing it: which isthat

1. being fixed in the said guard, if your enemy throws either a cut or thrust, you’ll hit the said blowtoward his left side with the true edge of your sword,

2. but all in one tempo you’ll step forward with your left foot, casting your cape in his face from off yourshoulder, holding it tightly in your fist however, and in that casting

3. you’ll thrust an imbroccata to his chest, or give him a mandritto to the legs;4. and having done so, wanting to embrace it again, you’ll turn your left hand toward the outside,

recovering it onto your arm, and you’ll place yourself in cinghiale porta di ferro with it, and in codalunga stretta with your sword.

13.3.2 Second

Having it likewise about you, you’ll take that part that hangs down on your left side with your left hand,almost by the corner, and then with your other hand you’ll take the other side, likewise of the bottom ofthe cape, turning it back and redoubling it onto your left arm, holding both corners however in your lefthand. Then,with your right hand, you’ll take all of that part of the said cape that remains below, andwill turn it inward upon your arm, arranging it with lovely grace. Having done so, you’ll put yourselfinto porta di ferro with it, and in coda lunga alta with your sword.

And then, wanting to avail yourself of it in order to cast it at your enemy, you’ll draw your left footback a pace and in the same tempo you’ll extend your arm backwards, making a turn of your hand. Bythat turning you’ll make that last part that you turned onto your arm return to hanging low, and this isdone so that you’ll have the cape free to be able to cast it, keeping that first part that you gripped firmlyin hand, however. And cast it with your arm open, so that you’ll cover your enemy greatly thereby.

13.4 Both with swords in coda lunga alta and capes in porta diferro alta

Provocation Counter

Pass forward with your right foot and provokehim with a falso and a mandritto, with whichyou’ll fix yourself in porta di ferro, and withyour cape in coda lunga alta.

Moving your right foot along the diagonal you’ll go intocinghiale porta di ferro with your sword and your capewill see to the defense of your head.

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1. After you’ve stepped with the aforesaid footyou can also feint a thrust to his face overyour cape, and immediately

2. turn a mandritto to his leg, or

2) thrust a punta riversa instead,3) followed by a riverso to his leg with which

you’ll go into coda lunga stretta with yourcape in cinghiale porta di ferro,

and with these provocations he’ll be forced torespond to you.

1. Raise your cape in defense against the thrust.2. Pass forward with your right foot, and in that tempo

your cape will accompany your sword, and with thefalse edge thereof you’ll dismiss the said blow, imme-diately cutting him with a riverso to the thigh.

2) Hit that with your cape.3) immediately cast your left foot behind your right one

and turn a riverso sgualimbro to his sword arm inthat tempo.

13.5 Both with swords in porta di ferro stretta and capes incoda lunga alta

Provocation Counter

1. Turn a dritto tramazzone on his sword, then2. immediately pass forward with your left

foot and thrust a punta riversa to his face,3. followed by a riverso to his leg.

3) Advance with your right foot, and with ahalf turn of your fist thrust an imbroccatato his flank.

1. As your enemy turns the tramazzone, you won’tmove.

2. Hit that with your false edge.3. Draw your right foot behind your left one, giving the

enemy a riverso to the arm in that tempo.

3) Parry that with the true edge of your sword, imme-diately sticking the point into his chest.

1. Thrust the punta riversa with your rightfoot forward, and

2. speedily make a feint of giving him a man-dritto tondo to the head,

3. nonetheless turning a riverso to his leg, rais-ing your cape in that tempo in defense ofyour head.

1. Go into guardia d’entrare with your sword, thrustingyour point into his face all in one tempo.

2. Immediately raise your sword into guardia di faccia.3. Protect yourself from that with a riverso ridoppio,

and with a turn of your hand upwards you’ll slicehim with a mandritto to the thigh.

1. Once you’ve thrown the said thrust [puntariversa],

2. you’ll pass forward with your left foot,throwing your cape onto his right arm, and

3. in that instant you’ll turn a riverso sgualim-bro to his head with which you’ll fix yourselfin coda lunga alta, with your cape in portadi ferro alta.

1. Hit it with your sword.2. Immediately draw back your right foot, turning a

mandritto tramazzone in that tempo which will fallinto cinghiale porta di ferro, and you’ll put your capein the defense of your head.

13.6 Both with swords in cinghiale porta di ferro and capes inguardia di testa

Provocation Counter

1. Pass forward with your right foot and thrust apunta riversa to the face

2. followed by a riverso to the leg.

1. Parry that with your true edge.2. Draw your left foot behind your right one, and in the

same tempo you’ll give him a mandritto to his swordarm.

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1. Once you’ve thrown the said thrust [puntariversa]

2. you can turn a mandritto tondo to his head.

1. Hit that with your false edge.2. Immediately pass forward with your right foot and

defend yourself from that with your cape, giving hima mandritto to the leg in that instant.

1. In the throwing of the aforesaid thrust [puntariversa, passing with the right foot],

2. as he raises his sword to defend himself, youcan immediately step toward his right side withyour left foot and put your cape under his righthand,

3. but all in one tempo you’ll turn a mandritto tohis legs, making your right foot follow behindyour left one.

1. Parry that with the false edge of your sword.2. Immediately draw back your right foot behind your

left one, turning a riverso to his head all in one tempo.

Throw two punte riverse,

1. one to the face with your right foot forward,2. passing with your left one promptly toward his

right side, hanging your cape on his sword arm,and in that tempo you’ll draw back your fistsomewhat and thrust the other one into hischest.

1. Step forward with your right foot and beat it awaywith the false edge of your sword.

2. Advance forward with your left foot and hit that withyour cape, and in the same tempo you’ll turn an over-hand riverso to his head.

13.7 Both with swords in guardia d’alicorno (right foot forward)and capes in cinghiale porta di ferro alta

Provocation Counter

Thrust an imbroccata to his cape armDraw your right foot back a pace, giving a mandrittosgualimbro to the enemy’s hand.

Turn a mandritto to the same arm with whichyou’ll fix yourself in porta di ferro with your capein guardia di testa.

Pass forward with your left foot and defend yourself withthe cape, throwing a mandritto to his leg in that tempo.

1. Make a feint of extending a thrust [imbroc-cata],

2. nonetheless turning a riverso to his cape hand,with which you’ll fix yourself in coda lungastretta with your cape in cinghiale porta diferro.

1. You won’t move in response to the feint.2. Draw your right foot near your left one, leaning your

body back somewhat, and letting the blow go in vain;then immediately thrust an imbroccata to his chest.

13.8 Both with swords in guardia d’alicorno (left foot forward)and capes in porta di ferro alta

Provocation Counter

1. Feint an imbroccata to the face from outsidehis cape, passing toward his left side with yourright foot,

2. and immediately turn a mandritto to his legwith which you’ll fix yourself in porta di ferrowith your cape in defense of your head.

Promptly pass toward his left side with your right foot,turning a mandritto to his sword arm, which will fix youin porta di ferro larga, making your cape defend yourhead.

End of document.

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